朝鮮時代 法華經 變相板畵 硏究 = A Study on Wood-block Illustrations of Lotus Sutra(妙法蓮華經) in the Joseon Dynasty

다국어 초록 (Multilingual Abstract)

「Saddharmapundarika-sutra(Lotus Sutra)」 has been widely read and transcribed after introduction to the Korean Peninsula in the era of the Three States and it has been referred to as the best of particular sutra in T’ien-t’ai school and Mahayana Sutra.
Even in the Joseon Dynasty period of a Confucianism rejecting Buddhism, 「Lotus Sutra」 had published much more than other sutras and transformation pictures in it have been introduced in the various genres.
「Lotus Sutra」 had published 150 times for 500 years form 1392, the opening Joseon to 1910, the Japanese annexation of Korea and about 70 kinds of transformation pictures have been identified; these can be classified into the transformation picture of Sung Dal-sang origin, a royal family publication, a metal typeㆍreprinted edition and etc.
As the copy of woodblocks in Goryeo Dynasty or printing into existing ones had been the mainstream right after opening of Joseon Dynasty, the same Buddhist woodcut prints of 「Lotus Sutra」 in Song Dynasty had been used or partial ones had changed with same elements.
As transformation pictures of 「Lotus Sutra」had settled down as an independent block book of Joseon in 15th century and sutras of Ming Dynasty(China) had been introduced, the new model of transformation pictures had been produced.
Sung Dal-sang origin and the origin print of royal family are the gathering printing type of Buddha preaching on Spirit Mountain and Ŭlhae metal movable type(乙亥字), reprinted edition has showed various types; for examples, Triad Buddha, pentad Buddha picture and the combined type of the introduction of Pagoda of Treasures, a Buddhist sermon and dharma-general(Wit’a. 韋陀天) and borrowing case of Diamond Sutra(Vajracchedika-Prajnaparamita-Sutra 金剛經), three Buddha.
Transformation pictures of Sung Dal-sang(成達生, 1376~1444) origin are highly related to the same iconography type of 「Śatanidāna—saṅgraha—sūtra(撰集百緣經)」 transformation picture in Ming Dynasty and had adopted Goryeo Buddhist painting type. Also, the origin edition of royal family and prints had imported from imperial royal house-hold in Ming Dynasty and edited, circulated them.
In case of a metal type, transformation prints had not founded in the first edition; however, it has appeared in reprinted edition. Kabin metal movable type adopted the origin edition of royal family, the transformation picture of Diamond Sutra in 16th centuries and three assemblies of Buddhas prints. In addition, the reprinted edition of Ŭlhae metal movable type had adopted various transformation pictures such as triad Buddhas picture, pentad Buddhas piture, a treasure tower, a Buddhist sermon and etc.
The new transformation picture of 「Lotus Sutra」had reprinted the first edition until right after Hideyoshi invasions; however, precedent pictures transformed a lot from in the middle of 17 century and the xylography was deteriorated rapidly from the late of 17 century.
The main cause of image figure lies in the movement and printing types of printmakers. For example, the first Kapinja(甲寅字) movable type of 「Lotus Sutra」 had adopted the same transformation picture of 「Diamond Sutra(金剛經)」, but there appeared the difference in types in the Edition of Anshimsatemple (安心寺, 1545)-the type of Sungdalsang origin, and it was confirmed in partially edited type.
The transformation picture for the origin edition of royal family in the middle of 15th centuries influenced Buddhist painting; therefore, Goryeo Buddhist picture elements in Mass at Sacred Mt. Yeongsan that had existed until 16th century had disappeared gradually and Sakyamuni the object of worship using the key type of halo appeared. Also Bodhisattvas type of sermon askers occurred Mass at Sacred Mt. Yeongsan from 16th century.
The transformation picture of Sundalsang origin 「Lotus Sutra」, which had followed Goryeo Buddhist painting, influenced Buddhist painting and it is related with Back Buddha Wall Painting in Great Hero Hall of Bongjeongsa Temple(鳳亭寺) in the middle of 15th century.
Printmakers of 「Lotus Sutra」participated in a Buddhist image and painting or Buddhist instrument as well as engraving, so they were pioneera of Buddhist culture in Joseon Danasty. Among various Buddhist images, the type of triad Budda is related to Back Buddha painting at Hall of the Great Hero in Joseon. In fact, the printmaker of transformation picture had made Buddhist images and paintings.
Mysterious Buddhist guardian-spirit of Bhaisajyaguru(藥師佛) Buddha preaching(1744) among three Buddha Painting in JikjisaTemple(直指寺) had adopted three Buddha type of 「Lotus Sutra」 of transformation picture and dharma-general(Wit’a) has included to the edition. 「Lotus Sutra」 of transformation picture had offered various motives to Mass at Sacred Mt. Yeongsan.
Considering the origin and iconography view, the introduction of three Buddha's iconography which is accumulation of Buddha preaching on Spirit Mountain can be analogized through the transformation picture of 「Lotus Sutra」. Especially, Buddhist ritual rites has been a foundation such as Rites for Land and Water Spirits(水陸齋) or Yeongsanjae(靈山齋) buddhist rite under three Buddha type.
In addition, sermon askers in the type of Buddhist monk in Mass at Sacred Mt. Yeongsan were not from copy of 「Diamond Sutra」 transformation picture, but took a motive from 「Seokssiwollyu(Illustrated biography of Sakyamuni 釋氏源流)」 transformation picture and the new iconography had combined to Buddha painting.
Furthermore, the transformation picture of 「Lotus Sutra」 in Joseon Dynasty should be intensively studied with the relation to Mass at Sacred Mt. Yeongsan in the same period.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 朝鮮時代 『法華經』刊行 背景과 現況 = 5
• 1. 『법화경』의 傳來와 流通 = 5
• 2. 조선시대 간행된 『법화경』의 특징 = 7
• 3. 조선시대 『법화경』간행 배경과 현황 = 8
• 1) 조선 전기 『법화경』간행 배경 = 8
• 2) 조선시대 『법화경』간행 현황 = 13
• 3) 조선시대『법화경』간행과 수륙재 = 16
• 4. 다양한 판본의 제작 = 18
• 1) 금속활자본 = 19
• 2) 목판본 = 20
• Ⅲ. 조선시대 『법화경』변상판화의 고찰 = 29
• 1. 고려와 중국판본의 계승과 수용 = 29
• 2. 판본에 따른 변상판화의 유형 = 34
• 1) 3종의 成達生계본 = 35
• 2) 왕실발원본 = 42
• 3) 을해자본 번각본 = 55
• 4) 初鑄甲寅字本과 번각본 = 63
• 5) 黃振孫 書寫本 = 66
• 6) 기타 = 67
• 3. 『법화경』변상판화의 제작시기 구분과 특징 = 68
• Ⅳ. 조선시대 『법화경』변상판화의 諸問題 = 72
• 1. 『금강경』변상판화의 차용 = 72
• 1) 『금강경』변상판화 차용과 변형의 원인 = 72
• 2) 『법화경』에 차용된 『금강경』변상 판화와 청법승 문제 = 76
• 2. 변상각수와 판화 초원의 활동 = 80
• 1) 順治3年本 변상판화의 제작자와 제작 시기 = 80
• 2) 다양한 판본의 도상이 결합된 岬寺本의 제작 경위 = 83
• 3) 주요 각승과 화원의 활동 = 85
• 4) 1799년 松廣寺本 변상판화 = 87
• 3. 삼불형식 변상판화의 도상학적 고찰 = 89
• 1) 1531년 공산본사본 삼불회 변상판화 = 89
• 2) 順治 4年本 삼세불 변상판화 = 94
• Ⅴ. 맺음말 = 102
• 參考文獻 = 133
• 부록 = 139
• Abstract = 214