Gandhara 사원구조와 불상조각 특집 : 1부 Gandhara 사원구조와 불상의 유파 ; 탁티바히(Takht-i-Bahi) 사원구조와 불상 조각

박도화 ( Do Wha Park ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2004 강좌미술사 Vol.23 No.-

순(純),고종기(高宗期)(순조(純祖)~순종(純宗): 1801~1910년) 불교판화(佛敎版畵)의 특징과 양식

박도화 ( Do Wha Park ) 한국불교미술사학회 2009 강좌미술사 Vol.32 No.-

조선시대(朝鮮時代) 불교판화(佛敎版畵)의 양식(樣式)과 각수(刻手)

박도화 ( Do Wha Park ) 한국불교미술사학회(구 한국미술사연구소) 2007 강좌미술사 Vol.29 No.-

간다라 미술의 교류 연구 특집 : 간다라미술에 나타난 헬레니즘

박도화 ( Do Wha Park ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2005 강좌미술사 Vol.25 No.-

혜사(慧史) 문명대 교수 정년퇴임 기념 논문집 : 미술사의 작가와 유파 ; 불교회화 : 운흥사 각수(刻手) 연희(演熙)의 판각 양식

박도화 ( Do Wha Park ) 한국불교미술사학회 ( 구 한국미술사연구소 ) 2006 강좌미술사 Vol.26 No.2

16·17세기 경전 간행의 양상과 변상도의 특징

박도화 ( Park Do-wha ) 한국불교사연구소 2018 한국불교사연구 Vol.14 No.-

이 글은 조선시대 불교경전 중에서 16세기와 17세기에 간행된 경전에 포함되어 있는 변상도의 특징을 분석한 것이다. 16세기와 17세기는 임진왜란을 중심으로 각기 조선 전기와 후기로 분류된다. 그러므로 이 시기는 다방면에서 많은 변화가 이루어진 시기이며 따라서 매우 상이한 특징들이 노정되었다. 그러나 불서간행의 측면에서 볼 때 16세기와 17세기는 사찰판 불서의 극성기라는 공통점이 있다. 15세기의 불서 간행의 주체는 주로 왕실이었음에 비해 16~17세기 불서간행의 주체는 전국의 사찰이었다. 16세기에는 명종대의 선교 양종 체재의 복원과 도승제 부활 등 교단의 융성으로 인해 승려교육에 필요한 경전 등 불서를 많이 간행했기 때문이었고, 17세기에는 전쟁 이후 복구활동의 일환으로 불서간행 역시 활발하였기 때문으로 생각된다. 이 시기 간행된 불교서적의 종류는 대승경전 뿐만아니라 의식집이나 선서류 등 다양하며, 그 동기는 사후명복이나 극락왕생을 기원하는 기복적인 의도가 대다수이다. 이 시기 경전변상도의 도상은 15세기변상도를 번각한 것이 대다수이나 여러 도상을 조합하거나, 새로운 도상을 창안하는 다양함을 보여준다. 16세기와 17세기는 사찰판 불서간행의 극성기라 할 수 있다. This article analyzes the characteristics of the Byeonsangdo(Illustrations inserted in the Sutras), which was included in the Buddhist scriptures of the 16th and 17th centuries of the Joseon Dynasty. The 16th and 17th centuries are categorized as the first and second half-year of the Joseon Dynasty, with the Imjin War. Therefore many changes weren made in various aspects of Joseon society, and very different characteristics were determinded during these times. However, from the perspective of a publication in Joseon Dynasty the 16th and 17th centuries share the highest number of Buddhist books published by temples. During the 16th and 17th centuries, the main body of Buddhist publications was temples of the whole country, whereas the 15th century's was mainly the royal family. In the 16th century many Buddhist books including scriptures were published as necessary for the education of monks, because it was restored the Buddhist Dual system of Zen and the non-Zen sects and the Doseungje(monk's identification system) was restored during the King Myeongjong. And in the 17th century, the publication of Buddhist books was also active as part of restoration activities after the war. There are various types of Buddhist books published during this period, including Mahayana Scriptures, Ritual Books and of the Zen sect. Most of these books were published intended to pray for the souls of the dead and rebirth in paradise. Most icons of the Byeonsangdo in 16th and 17th centuries has been engraved again the Buddhist icons printed in the 15th century. Also combine different icons in a Byeonsangdo, and new icons were created. The 16th and 17th centuries are the peak periods of Buddhist publication in Joseon Dynasty.

영통사 대방광불화엄경소제 41 변상도

박도화(Do Wha Park) 한국불교미술사학회 2001 강좌미술사 Vol.17 No.-

This study is on the frontispiece of Annotated Avatazpsaka Sutra Vol.41 by the Priest Jeongwon(淨原法師), which had been commentated by the priest Jingkwan (澄觀), Treasure No.964. The woodblock of the text was engraved in 1087 at Hangzhou(杭州) in China and brought to Koryo, and was made by the order of the priest Uicheon(義天 ; 1055∼1101), who was the fourth son of the King Moonjong of the Koryeo Dynasty. But the original text had no frontispiece; the frontispiece was engraved and preserved in Yeongtong-sa(靈通寺) in 1372. From the attached Record of Engraving the Frontispiece(變相綠記文), we know the year of the woodblock, the name of three eunuchs Yi Michoong(李美沖), Park Seongryang(朴成亮), and Kim Sahaeng(金師辛), who had contributed to it, and also Yeongtong-sa, the place where the woodcut was engraved and preserved. The eunuchs were the special class that had power and wealth in those days. They were intimate with the monk Sindon(辛旽 ; ?∼1371) who played the leading role for the political reform during the reign of King Kongmin(恭愍王 ; 1352-1374). Sindon was belonged to the Hwaom-jong(華嚴宗), one of the major sects of Buddhism in Koryeo. And the Yeongtong-sa was the famous temple belonging to the Hwaom-jong, where were enshrined the portraits of the several kings of the Koryeo Dynasty. Therefore the temple closely connected with the royal family. This print of the frontispiece depicts the Seju-myoeum-poom(世主妙嚴品), the first chapter of Avatarpsaka Sutra(華嚴經), which is substituted for the whole contents of the Sutra. Frontispieces of most Sutras represent the first chapter of the Sutra in general. There are various deities represented in the print depicting the Buddhist mass at the Bodhi-hall. This scene may reveal one of the characteristics of Avatarpsaka Sutra that raises the importance of the deities. The iconography of this print was very important because it transmitted the frontispieces of Avatarnsaka Sutra in the Choseon Dynasty, and became the standard. Additionally, the icon of the Vairocana(毘盧遮那佛) in the Bodhisattva style in this print was popular in late fourteenth century, and also set the universal icon of the Vairocana in the Choseon Dynasty. The Avatarpsaka Sutra of the priest Jingkwan`s comment annotated by the Priest Jeongwon was reprinted several times during the Koryeo and Choseon Dynasties. That is recognized the importance in the history of Korean Buddhism because the Sutra indicates the direction of the Hwaom-jong. and also showes the characteristic of the art of the Hwaom-jong in Korea. As mentioned above, this frontispiece has important meanings not only to art history, but the Buddhist history in Korea.

황수영박사(黃壽永博士)의 사경(寫經)연구와 의의 -사경의 재발견과 새로운 연구 시각-

박도화 ( Do Wha Park ) 한국불교미술사학회(한국미술사연구소) 2014 강좌미술사 Vol.43 No.-

황수영박사의 주요 연구 분야는 불교조각이지만 불교미술 전반에 관한 다양한 논저들을 남겼다. 그중 사경에 관한 글이 많지는 않지만 이 분야의 중요성에 대해 누구보다 먼저 주목하였다는 점, 그리고 사경이 미술사 가운데 중요한 연구 분야의 하나임을 인식케 하고 연구의 방향을 제시했다는 점에 큰 의미를 둘수 있다. 황수영의 사경 관련 업적은 개별 사경에 대한 연구와 사경의 발굴ㆍ감식 및 수장과 관련된 성과로 구분할수 있다. 사경 연구의 대상은 新羅白紙墨書花嚴經(국보 제 196 호)과 고려시대의 사경 특히 國王發願寫經에 집중되어 있다. 신라화엄경에 대해서는 (8 축의) 각 축 권두에 모두 변상이 있었을 것으로 추정되므로 이 변상도는 발견된 2 축 중 어느 하나에 소속된 것으로 볼 수 없고, 따라서 이 그림을 권 44~50의 경문이 쓰여진 한 축과 관련된다고 보기 어려우며, 오히려 卷首畵로서 불보살도를 그린 것이라고 언급하였다. 다시말해 7 處9 會圖의 어느 한 法會를 가리키는 것으로 볼 수는 없다는 견해는 밝혔으나 더 이상 이 문제를 구체화하지는 않았다. 신라화엄경의 현재의 현황으로 보아 권수화로서 화엄경법회 전체를 아우르는 도상으로 해석할수 있다는 견해는 타당한 것으로 보인다. 또 다른 주목할만한 업적은 국내외의 기관 및 개인 소장 사경의 대부분이 그의 감정을 거쳐 수장되었다는 점이다. 특히 <상지은니묘법연화경>(1373 년, 국보 제 185 호, 국립중앙박물관소장)은 道岬寺에 전해지던 7 권 완질본인데 일제강점기 일본으로 반출되었던 것을 개인이 구입토록 권하였고, 이를 국립중앙박물관에 기증하도록 주선하였다. 해외로 유출되었던 문화재를 환수토록 조처하였다는 점에서 주목되는 사례로 평가된다. 황박사의 사경 관련 연구 성과는 서지적 혹은 역사적 접근에 치중한 개괄적인 연구였으나, 그가 발굴하고 제시한 자료를 바탕으로 미술사, 서예사, 서지학, 역사학 등의 분야에서 후학들이 보다 심화된 연구를 진행할 수 있는 토대를 마련하였다는 점을 높이 평가해야할 것이다. 앞으로 사경의 서체와 변상도는 물론 지질과 안료의 연구, 어학적인 측면에서의 연구 등 사경을 연구하는 시야를 보다 넓히고 새로운 시각, 새로운 방법론으로 심도있는 연구가 지속되어야 함은 물론이다. 그것이 후학들이 담당해야할 과제일 것으로 생각한다. 사경은 당대 문화를 종합한 집합체이기 때문이다. The main area of Hwang Soo-yeong`s research is Buddhist sculpture but he left many writings about general Buddhist arts. Although Hwang did not write many about sutra copying, the writings are meaningful in that he took note of the importance of this branch, emphasized sutra copying as an important area of research in art history, and suggested directions for research. Hwang Soo-yeong`s achievements related to sutra copying can be divided into his research on individual copied sutras, and his works of excavating, judging, and garnering copied sutras. Previous studies on sutra copying are concentrated on Silla Avata.saka S.tra (National Treasure No. 196) and sutra copying in the Goryeo Dynasty, in particular, king-sponsored sutra copying. With regard to Avatamsaka Sutra (of 8 sets), it is presumed that there was an illustration on the cover of each set, and therefore, it is hard say that this sutra illustration belongs to either of the two discovered sets. Accordingly, this drawing is hardly related to the set containing sutra volumes 44-50, and rather it was said to draw Buddha and Bodhisattva as a frontispiece. In other words, he clarified the view that the illustration cannot be considered to indicate one of 9 masses in the Painting of Avatamsaka Sutra. But he was no longer discussed this issue in details. Considering the current state of Silla Avata.saka S.tra, it is considered valid to see that it is an icon comprehending all Avata.saka S.tra Buddhist masses as a frontispiece. Another remarkable achievement is that most of copied sutras from the Goryeo Dynasty owned by Korean and overseas institutions and individuals were garnered through his authentication. In particular, Saddharma-pundarika Sutra (1373, National Treasure No. 185, kept in the National Museum of Korea) is a complete set of 7 volumes, which was handed down at the Dogap-sa Temple and carried out to Japan during the period under the Japanese imperialism. He encouraged an individual to buy it and donate it to the National Museum of Korea. This is a noteworthy case in that a cultural property carried out overseas was recovered. Dr. Hwang-s research achievements on sutra copying were general studies through bibliographical or historical approaches, but they should be appreciated highly in that materials that he excavated and presented provide a base for future scholars to make more advanced studies on art history, calligraphy history, bibliography, historical studies, etc. It is also required to broaden the view of research on sutra copying including the quality of paper and color, and linguistic issues, and to continue in.depth research with new perspectives and methodologies. These works should be done by future scholars because sutra copying is the aggregation of culture in the corresponding ages.

『佛說大目連經』의 成立經緯 再考와 版畵의 圖像

박도화(Park Do-Wha) 한국미술사교육학회 1998 美術史學 Vol.12 No.-

15세기 후반기 王室發願 版畵 : 貞熹大王大妃 發願本을 중심으로 Focused on the prints donated by Queen Jeonghee, the grand-mother of King Seongjong

박도화 한국불교미술사학회 ( 구 한국미술사연구소 ) 2002 강좌미술사 Vol.19 No.-

Despite the suppressive policy on Buddhism in the 15th century, earlier period of Joseon Dynasty, a lot of Buddhist projects were initiated by the Royal Court. At that time many Buddhist texts were publsihed under the sponsorship of queens, princes and princesses. Therefore, the woodblock prints of the Buddhist texts at that time are rated the best among the prints of the Joseon Dynasty, because they were produced by the best technicians including painters and wood engravers. King Sejo who was a devout worshipper of Buddhism, established an organization dedicated to the publication of the Buddhism, established an organization dedicated to the publication of the Buddhist texts, Gan-gyeong-do-gam(刊經都監), and published many Buddhist texts in the latter half of 15th century. After his death in 1471, the Gan-gyeong-do-gam was abolished, and there was no more official publication of Buddhist texts. Then the Buddhist texts were published and sponsored chiefly by Queen Grandmother Jeonghee(貞憙大王大妃) and Queen Mother Insu(仁粹大妃); the former was the grandmother of King Seongjong(成宗) and the latter was his mother. The Buddhist texts which contain woodblock print illustration are the Myobeop-yeonhwa-gyung(妙法蓮華經), 1470), Jijangbosal-bonwon-gyung(地藏菩薩願經, 1474), Yeonyom-mita-doryang-chambeop(禮念彌陀道場懺法, 1474), and Jabi-doryang-chambeop(慈悲道場懺法, 1474). They were published and sponsored by Queen Grandmother Jeongheee together with a number of princes and princesses. They all contain the postscript written by Kim su-on(金守溫) and the illustrations were done by Yi Jangson(李長孫) and others. The woodblock print lllustration contained in Myobeop-yeonhwa-gyung is the Yeongsan-wheisang-do(靈山會上圖) which was modeled after the one produced in Gyeonseong-am(見成庵) in 1459. It was the most frequently produced theme among the woodblock prints in Joseon Dynasty. The woodblock pring of Jijangbosal-bonwon-gyung represents the sermon of Sakyamuni in the Palace of Tusita-heaven(兜率天宮) for Lady Maya(摩耶夫人), mother of Sakyamuni. Yeonyeonm-mita-doryang-chambeop talks about the way of repentance while reading the Sutra of Amitabha and worshipping the Three Buddhas of the past, the present, and the future. The woodblock print illustration of this text represents nine Buddhas; seven Buddhas of the past, Amitabha Buddha(阿彌陀佛) of the West, and Maitreya Buddha(彌勒佛) of the Future. The woodblock print illustration of Jabi-doryang-chambeop represents eight Buddhas except Amitabha buddha from the above-mentioned nine Buddhas. All of then have Buddha illustration on the upper part and the names of each Buddhas on the lower part. For the two former illustrations, the draft was drawn by Yi Jangson(李長孫) and Baik Jongrin(白終隣), a couple of the most famous court painters of that time. The printed publications have in common that they were published in the 1470's with the sponsorship of Queen Grandmother Jeonghee(貞熹大王大妃) and the royal family, dedicated to guiding their ancestors's souls into paradise, and were produced by the painters and wood engravers active in the Court. Therefore, they show similar stylistic features. Figures which had been rendered long and slender in the first half of the 15th century turned sturdy in the latter half of 15th century. And the carving itself was done exquisitely and sharply. The woodblock print illustrations introduced in this article are some of the highest level Buddhist print illustrations in the early Joseon Dynasty. They are evaluated very important because the iconography adopted in those illustrations became the iconography adopted in those illustrations became a tradition throughout Joseon Dynasty. Lastily, they are also significant materials for the study of the cultural exchanges between China and Joseon.