수락산 여국사

박도화 한국불교미술사학회 ( 구 한국미술사연구소 ) 1988 강좌미술사 Vol.1 No.-

韓國佛敎壁畵의硏究 : 高麗時代를 중심으로

박도화 동국대학교 박물관 1981 佛敎美術 Vol.6 No.-

鳳停寺 大雄殿 靈山會後佛壁畵 도상의 연원과 의의

박도화 동아대학교 석당학술원 2019 石堂論叢 Vol.0 No.73

This paper analyzes the origin and style of the Yeongsanhoesangdo mural painting behind the Buddha in Daewoongjeon, Bongjeongsa Temple, and examines the significance of this mural through these analyses. The mural was painted in the early Joseon Dynasty when the Daewoongjeon was established, although it was severely damaged. The iconographic origin of this mural painting can be found in the illustrations of Lotus Sutras, published in the 15th century of the Joseon Dynasty. It was confirmed that detailed expression patterns such as the shape of icons, such as clothes and accessories, haloes, canopy, were very similar to those of the Buddhist painting of Amitayur-dyana-sutra made in 1435, posessed in Gionji, Kyoto. Therefore, it can be seen that the mural painting was made around 1435 as the records founded in Daewoongjeon. The mural painting of Daewoongjeon in Bongjeongsa Temple was of great significance in that, it became a prototype of Yeongsanhoesangdo during the late Joseon Dynasty. It is also valuable in that the mural painting is the earliest of its kind and the work of the early Joseon Dynasty, because the number of Buddhist paintings is very rare at that time. 봉정사 대웅전에는 아미타삼존불상과 아미타후불탱화가 봉안되어 있다. 1997년 1월 16일 후불탱화를 보수하기 위해 벽에서 떼어내자 건립당시 후불벽에 그려진 벽화의 전모가 드러나 세간의 관심을 모았다. 이 벽화는 손상이 심하지만 조선초기 대웅전 중창시 후불벽화로 그려져 예배되던 불화인데 그 도상의 연원은 조선전기 15세기에 간행된 법화경변상도에서 찾아볼수 있고, 불ㆍ보살상 등 존상의 형태, 복식, 광배와 보개의 모습 및 채색 등 세부표현 양식이 조선초기 지온지(知恩寺) 관경변상도(1435)와 같은 조선 전기 불화와 매우 유사함을 확인하였다. 그러므로 이 봉정사 영산회후불벽화는 중창기의 기록대로 1435년경에 제작되었음을 알수 있고 그 도상은 조선후기 영산회상도의 조형(祖型)이 된다는 점에서 막중한 의의가 있다. 또한 조선시대 전각 후불벽화로서는 가장 연대가 이르고, 작품이 귀한 조선 전기불화인 점에서도 가치가 크다고 하겠다.

朝鮮朝 妙法蓮華經 版畵의 硏究

박도화 동국대학교 박물관 1994 佛敎美術 Vol.12 No.-

初刊本『月印釋譜』八相版畵의 연구

박도화 한국서지학회 2002 서지학연구 Vol.24 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.

花岩寺刊 父母恩重經 版畵의 圖像과 意義

박도화 동국대학교 박물관 1998 佛敎美術 Vol.15 No.-

仁·肅宗 시대(仁祖~景宗 年間 : 1623~1724) 佛敎版畵의 특징과 양식

박도화 한국불교미술사학회 2003 강좌미술사 Vol.20 No.-

仁·肅宗 시대(仁祖∼景宗 年間 : 1623∼1724) 佛敎版書의 특징과 양식

박도화 한국불교미술사학회 ( 구 한국미술사연구소 ) 2003 강좌미술사 Vol.20 No.-

The period from King Injo to Gyeongjong opening the late Chosun Dynasty was when the country ruined by wars were restored and various changes occurred in all areas of the society. Thanks to the activities of monk soldiers during the wars, there was no noticeable oppression of Buddhism and the environments of Buddhism had been somewhat improved, which was greatly helpful in the activation of the revival of Buddhism. One of active Buddhist projects was the publication of Buddhist scriptures. Expenses for publishing Buddhist scriptures necessary for religious life and monk training came from donations of monks and believers. Relying on the virtues, donators wished the souls of the dead euthanasia. Temples around the country printed out so many scriptures that the age was the peak of Buddhist texts published in temples. Moreover, because temples in Korean had traditionally been paper manufacturers and the centers of printing culture, they were equipped with various resources necessary for engraving including carvers, wood and paper, so could conduct scripture publication projects actively. In terms of frequency and diversity of woodcut illustrations, that age was the highest point of Buddhist scripture woodcut. Scriptures engraved in that age form the main stream of reprinted editions of woodblock-printed books in the early Chosun Dynasty. Many of illustrations on woodcut were inherited from the early Chosun, yet there were changes, combinations and creation of icons in various ways. Styles are as diverse as the number of illustrations. What shows the characteristics of the styles of uni-colored woodcut is carving lines. Reprinted editions of early woodblock-printed books lost the softness of the formers, and have thick and straight, and as a result, stiff carving lines instead. However, early editions are inferior in accuracy found in woodcut illustrations made to pray for the royal family but they engraved the soft line drawing faithfully. However, popular scriptures such as Mokryeongyeong or Eunjunggyeongeonhaebon show rather rough and rigid cut lines and bold abbreviation of details and complex lines, different from other woodcut illustrations in the same period. In addition, even woodcuts in the same age with the same icons have diffenent expression according to carver, and through them cutting skills can also be compared. Furthermore, that the shape of Buddhist images appears differently according to carving lines stresses the importance of carvers in Buddhist scripture woodcut. Illustrations in Buddhist scripture woodcut in the 15^th early Chosun Dynasty, was mainly to offer payers for the royal families, and the publication of scriptures by temples began from the 16^th century, which was the peak of Buddhist text published in temples. Woodcut illustrations were also developed in quantity and diversified in quality in terms of icons and styles. Buddhist woodcut illustrations during the period from King Injo to Gyeongjong is considered to represent that of the late Chosun Dynasty, considering that it began to decline from King Yeongjo and Jeongjo.

諺解本 <佛說大報父母恩重經> 版畵의 圖像的 淵源과 意義

박도화 한국불교문화학회 2005 불교문화연구 Vol.6 No.-