朝鮮時代 熾盛光如來圖 硏究 = A study on a painting of the flaming light Buddha(熾盛光如來圖)

다국어 초록 (Multilingual Abstract)

We have been offered a sacrifice to the constellation such as the Sun, the Moon, the Big dipper and the South touliu stars for pray about the health, longevity and getting their own son. These constellation have been believed to exterminate lots of misfortune. Also they can care human's life and protect from a natural disaster in charge the movement of heavenly bodies. So the belief about the constellation is getted important roll in nation and folk life, then a lot of work were made specifically about the constellation, one of them is the painting of flaming light Buddha(熾盛光如來圖). Even though this painting express many constellation that the flaming light Buddha was put on center then drawn seven-Buddha and twenty eight stars around him, we had been called as the painting of seven-Buddha.
It is incongruent to call as the name of painting that the principal icon's dependents, not the principal icon. Therefore I determine to use the painting of flaming light Buddha(熾盛光如來圖), not the painting of seven-Buddha(七星圖). The icon is based on these texts 『梵天火羅九曜』,『七曜讓災決』. And we can fine the iconic basis at the <the painting of the advent of flaming light Buddha>(熾盛光如來降臨圖) that was made in 14 century and now is the Boston fine art museum's collection and <the painting of the advent of flaming light Buddha>(熾盛光如來降臨圖)that was made 1569 year and now is the Koryeo museum's collection. These two painting is seen the connection with the Chinese the painting of flaming light Buddha, because they include the constellation of seven day(七曜) and the zodiacal constellations(十二宮) that is a chinese iconic element.
However, the painting of the Joseon dynasty is omitted the chinese iconic element and expressed both Bodhisattvas. And the seven star is being seven buddhas and new icon is appeared the seven dollars asterism(七元星君), the Lagerstroemia great(紫薇大帝) that is the Taoism dependents. The painting of flaming light Buddha's form mignt be devide large"the painting of the advent of the flaming light Buddha""(Chisunggwang-yeorae-gangrim-Do, 熾盛光如來降臨圖) and "the painting of the sermon of the flaming light Buddha"(Chisunggwang-yeorae-sulbup-Do, 熾盛光如來說法圖). The former is the icon that the flaming light Buddha descanded with seat on the above a wagon that is pull by cow and put the many constellations around the flaming light Buddha, while the latter is general sermon icon that is putted lots of the constellations with the flaming light Buddha as the central figure. The form of the avent(Gangrim-Do, 降臨圖)'s icon is different with the early and late of Joseon dynasty, but the form of sermon(Sulbup-Do, 說法圖)is similar with the early and late of Joseon dynasty. Because the painting of the advent of flaming light Buddha(熾盛光如來降臨圖) is similar with the painting of the sermon of flaming light Buddha(熾盛光如來說法圖) without a cow and a wagon. The icon of the flaming light Buddha is reflected the foreign element and expressed particularly the shape of the Sun and the Moon in the late of Joseon dynasty. Even though the painting is made more variety and complicated the composition of a picture to use the icon is joint, modification and sometime borrowing a motif, I think that is from the connect of painter.
That is, the painting of flaming light Buddha(熾盛光如來圖) of joseon dynasty has unique icon that is not influenced by the Chinese and the Koryeo's icon. And we can know the painting is made by complicated the composition of a picture that it is influenced the social and religious side at that time like as the seven star is being seven buddhas and new Taoism icon is appeared.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 熾盛光如來圖의 名稱과 製作背景 = 6
• 1. 熾盛光如來圖의 名稱 = 6
• 2. 熾盛光如來圖의 製作背景 = 8
• 1) 도상학 = 8
• 2) 신앙의 형태 = 20
• 3) 불경간행 = 29
• 3. 熾盛光如來圖 圖像의 成立 = 34
• 1) 중국 치성광여래도 = 34
• 2) 고려시대 치성광여래도 = 41
• Ⅲ. 朝鮮時代 熾盛光如來圖의 圖像 및 形式 = 46
• 1. 熾盛光如來降臨圖 = 46
• 1) 조선전기 = 46
• 2) 조선후기 = 49
• 2. 熾盛光如來說法圖 = 53
• 1) 조선전기 = 53
• 2) 조선후기 = 55
• (1) 삼존형식 = 56
• (2) 군도1형식 = 57
• (3) 군도2형식 = 60
• 3. 기타 = 64
• 1) 치성광여래도 = 64
• 2) 104위 신중도 = 65
• Ⅳ. 朝鮮時代 熾盛光如來圖의 特徵 = 67
• 1. 朝鮮時代 熾盛光如來圖의 圖像的 特徵 = 67
• 1) 화면구성 = 67
• 2) 협시보살 = 69
• 3) 모티프 = 74
• 2. 朝鮮後期 熾盛光如來圖의 類型別 特徵과 地域性 = 77
• 1) 도상의 공유 = 77
• 2) 도상의 변용 = 90
• 3) 모티프의 차용 = 114
• Ⅴ. 맺음말 = 127
• 【參考文獻】 = 131
• 【表目錄】 = 140
• 【揷圖目錄】 = 141
• 【圖版目錄】 = 142
• 【圖版】 = 151
• 【資料】 = 211
• 【ABSTRACT】 = 233