朝鮮時代 阿彌陀說法圖 硏究 = A Study on the Paintings of Amitabha Buddha Preaching of the Chosun Dynasty

다국어 초록 (Multilingual Abstract)

The Chosun Dynasty saw the rise of Confucianism and the fall of Buddhism that had been held as a national religion. Despite such a change, the religion of Amitābha could maintain its status through the common hope for a long healthy life and rebirth in the after world. This religion was especially appealing to many people for it guaranteed a happy rebirth through a simple recitation of 'Amitābha Buddha'.
The painting of Amitābha Buddha Preaching is a picture which describes Amitābha Buddha preaching in the Pure Land. The painting of Amitābha Buddha Preaching was made in the Koryo Dynasty. During the Chosun Dynasty, the number of painting of Amitābha Buddha Preaching increased, with more than 200 pieces handed down to this day.
The painting of Amitābha Buddha Preaching of the Chosun Dynasty can be divided into three main categories, the painting of Amitābha triad, the painting of Amitābha with Eight Great Bodhisattvas and the painting of Amitābha Buddha Preaching in the Pure Land. The painting of Amitābha triad is arranged as the following, Amitābha Buddha and Avalokiteśvara, Mahāsthāmaprāpa and Avalokiteśvara or Kṣitigarbha. The painting of Amitābha with Eight Great Bodhisattvas is arranged by Amitābha Buddha and 8 Bodhisattvas. The painting of Amitābha Buddha Preaching in the Pure Land consists of Amitābha Buddha and Bodhisattvas with various motives.
In the early Chosun age, the painting of Amitābha triad and the painting of Amitābha with Eight Great Bodhisattvas were made and later the painting of Amitābha Buddha Preaching in the Pure Land was made with a more complex motive developed from the painting of Amitābha with Eight Great Bodhisattvas. In the late Chosun age, the painting of Amitābha Buddha Preaching in the Pure Land became the main style in painting of Amitābha Buddha Preaching, and in the late 18th century the painting of Amitābha triad was made.
The painting of Amitābha triad and the painting of Amitābha with Eight Great Bodhisattvas have their roots in the traditions of the Koryo Dynasty. Numerous pieces were created during the early Chosun Dynasty. On the other hand, the style of the painting of Amitābha Buddha Preaching in the Pure Land began in the Chosun Dynasty, harmonizing various motives and conforming to the Buddist touch of the age. During the Chosun age, the things that Bodhisattva were holding were not added, showing a vast difference from the Koryo age. This shows that the Koryo Buddhist pictures are ideological and conceptional while the Chosun Buddhist pictures are understandable and explainable.
During the late Chosun Dynasty, the painting of Amitābha Buddha Preaching in the Pure Land and the painting of Amitābha triad were made. The painting of Amitābha Buddha Preaching in the Pure Land followed the tradition of the early Chosun pieces showing various motives and also Bodhisattva without holding anything. Among the icons pictured in the painting of Amitābha Buddha Preaching, the image of Avalokiteśvara is very much similar to the early Chosun pieces in its icon, arrangement and shape. This shows a strong will to hand down tradition, and this tendency is especially eminent is the works of the Junglado state. The late Chosun painting of Amitābha triad was made in the late 18th century leaving a 200 year gap. Seeing that the painting of Amitābha triad was used in small pieces, it can be concluded that the style was sealed in a small engraving. The arrangement, shape and icon were all handed down from the traditional sources of Koryo Buddhist pictures. With an exception that the late Chosun the painting of Amitābha triad expressed hupsibosal (挾侍菩薩) in a seating image. This can be said to be the influence of the Sutra Paint.
From a different point of view, the dark and miserable social atmosphere from wars including Imjim war, influenced the strict and conservative religion shown in the Buddhist pictures. Many engravings and Bodhisattvas were missing from the wars and many others were exported abroad. Therefore, the late Chosun painting of Amitābha Buddha Preaching had to regain the patterns of the painting of Amitābha Buddha Preaching lost in the wars. The painting of Śākyamuni Buddha Preaching which was firstly made after the wars, became the model. Consequently, many new patterns can be found in the late Chosun paintings of Amitābha Buddha Preaching compared to the early ones. Firstly, in the late painting of Amitābha Buddha Preaching in the Pure Land new motives of the painting of Śākyamuni Buddha Preaching can be found. In the painting of Amitābha Buddha Preaching in the Pure Land images of Brahmā and Indra, images of Vajrapani and images of Kings and Queens that were expressed in the painting of Śākyamuni Buddha Preaching can be seen. Secondly, the arrangement of the painting of Amitābha Buddha Preaching in the Pure Land was also influenced by the painting of Śākyamuni Buddha Preaching. Generally, the painting of Amitābha Buddha Preaching in the Pure Land arranged Avalokiteśvara and Mahāsthāmaprāpa under Amitābha Buddha, to the left and to the right, respectively. However as in the case of the 1713 painting of Amitābha Buddha Preaching in the Pure Land, Avalokiteśvar and Mahāsthāmaprāpa were seated next to Amitābha Buddha. Also, among the many motives, painting of Amitābha Buddha Preaching shows the tendency to magnify and emphasize Amitābha triad. It can be said that such an emphasis was used to deliver the message of the work effectively.
The late Chosun painting of Amitābha Buddha Preaching can be divided into three steps of development. The first stage is the stage of establishment when the patterns of painting of Amitābha Buddha Preaching were first set up. Works made after the Imjin War around 1780s are included in this stage. The works of this age developed the arrangement, icon and color of the early Chosun painting of Amitābha Buddha Preaching while consuming more arrangement patterns and color changes. The second stage of spreading marks the birth of the painting of Amitābha Buddha Preaching from the late 18th century to the early 19th century. During this period, the arrangement was simplified, Bodhisattvas were seated in the works and mostly the colors became dark. In the last stage of practice, partly the painting of Amitābha Buddha Preaching shows effort to try new styles but in general it uses the past tendency and series of identical pieces. Such a tendency is seen in works made between the mid 19th century and the early 20th century, showing that artists shared the ideals.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 阿彌陀說法圖의 製作背景 = 5
• 1. 경전적 배경 = 5
• 2. 사회적 배경 = 14
• Ⅲ. 朝鮮時代 阿彌陀說法圖의 形式 = 24
• 1. 아미타삼존도 = 24
• 2. 아미타팔대보살도 = 29
• 3. 아미타극락회도 = 31
• Ⅳ. 朝鮮前期 阿彌陀說法圖像의 成立 = 34
• 1. 전통의 계승 = 34
• 1) 아미타삼존도 = 34
• 2) 아미타팔대보살도 = 40
• 2. 새로운 도상의 모색 = 46
• Ⅴ. 朝鮮後期 阿彌陀說法圖像의 擴散 = 52
• 1. 전통의 수용 = 52
• 2. 새로운 경향 = 63
• 1) 석가설법도상의 차용 = 63
• 2) 아미타삼존의 극대화 = 69
• Ⅵ. 朝鮮時代 阿彌陀說法圖의 樣式 = 76
• 1. 확립기 = 76
• 2. 확산기 = 92
• 3. 답습기 = 102
• Ⅶ. 맺음말 = 122
• 【參考文獻】 = 125
• 【表目錄】 = 136
• 【揷圖目錄】 = 136
• 【圖版目錄】 = 137
• 【圖版】 = 142
• 【附錄】 = 173
• 【Abstract】 = 184