甲申銘 熾盛光如來降臨圖 = Focused on Gapshinmyoung a painting of flaming light Buddha(熾星光如來圖)

다국어 초록 (Multilingual Abstract)

From old days, people have offered a devout prayer to the heavens targeting star. A work, which was drawn by allowing faith in star to be Bulgyeokhwa(佛格化: making any subject what has Buddhist qualification) in this way, is Chiseonggwangyeoraedo(熾星光 如來圖: meaning the painting of flaming light Buddha). As Chiseonggwangyeoraedo is a work in which Chiseonggwangyeorae(熾星光如來) is pivotal as svadeva, it has been named diversely so far. However, a writer in this study called 'Chiseonggwangyeoraedo (熾星光如來圖)' on a work of Buddhist painting of having Chiseonggwangyeorae(熾星 光如來: meaning the flaming light Buddha) as svadeva.
Chiseonggwangyeoraedo is divided into a form of Gangrimdo(降臨圖: a painting of having drawn the image that God descends to the world from the heavens) and a form of Seolbeopdo(說法圖: a painting of having drawn the image that describes dogma of Buddhism). The form of Gangrimdo(降臨圖) is iconography that Chiseonggwangyeorae (熾星光如來) and several dependents have a will to move while being presented a cow of pulling a wagon on the canvas. And the form of Seolbeopdo(說法圖) is iconography that there is svadeva in the center of canvas and that dependents around it are standing, like other general Buddhist paintings. Out of this Chiseonggwangyeoraedo(熾星光如來圖), a work of Gapshinmyoung(甲申銘), which is pivotal in this study, belongs to the form of Gangrimdo(降臨圖).
The works in Goryeo period and the early Joseon period have the canvas construction that Chiseonggwangyeorae(熾星光如來), who rides a wagon pulled by a cow over the clouds in the center of canvas, is descending with Oseong(五星: five planetary stars close to the earth such as Venus, Jupiter, Mercury, Mars, and Saturn) while pointing to somewhere with a finger. As Oseong is element of iconography composition in China, it is based on 「Beomcheonhwaraguyo(梵天火羅九曜)」 and 「Chilyoyangjaebeop(七曜攘災法)」 and is found even in a work of Goryeo period. And there is difference in constructing canvas and expressing dependents. However, it can be found even in a work of being possessed by Goryeo art museum in 1569 or in a work of Gapshinmyoung(甲申銘). However, a work of the late Joseon period is being presented only cow or wagon mostly with iconography of Seolbeopdo(說法圖) and is omitted even Oseong, thereby showing difference even in element of iconography composition as well as canvas construction. A work of the late Joseon period has been recognized so far to have been made quite differently from the work and the iconography of Goryeo period and the early Joseon period. However, a work of Gapshinmyoung(甲申銘), which followed the iconography of prior works, was newly introduced to be noted.
As a work of Gapshinmyoung is Hwangseonmyo Buddhist painting and that was originated from a deserted house in those days, it could be known to have been made in 1644 when is Gapshinnyeon(甲申年: the 21st year of the sexagenary cycle(六十甲子)) of corresponding as Saengmolnyeon(生沒年: the year that a person was born and the year that a person was dead) of Sijuja(施主者: person of offering)s. In other words, the work of Gapshinmyoung, which has been examined so far, is one of very important materials that allows the iconography of Goryeo period, which was influenced by China, to have been continued up to the late Joseon period. Thus, the significance that this work has is great.

목차 (Table of Contents)

• 1. 머리말
• 2. 도상의 수용과 변용
• 3. 표현과 기법
• 4. 화기분석과 제작시기
• 5. 맺음말
• 참고문헌
• Abstract