甘露王圖 圖像의 形成 문제와 16, 17세기 甘露王圖 硏究 : 水陸齋 儀軌集과 관련하여

다국어 초록 (Multilingual Abstract)

The Kam ro wang paining, which shows dead people who desire to go to the world of Budda, consists of three parts, the upper, middle and bottom. The bottompart of the picture shows the six ways of living beings after death. This painting draws great attention from people because all kinds of death are described in that. In the middle of the painting, it shows a Buddhist ceremony performed by the Buddist prists with a great feast for the spirts of the dead. After the feast adn the ceremony, the sprits of the dead are leaded to the world of Budda, which is represented well in the upper part of the painting. This role is played by a Buddhist prist called the "Inrowang-bosal". Therefore, the Kam ro Wang paining expresses the idea of the Buddhistic death and utopia and their organic relationship.
This study focuses on the formation and the style of the Kam ro wang paining in the 16th and 17th century.
Chapter Ⅱ focuseason the formation of the painting. The painting is unique in that it is found in Korea only. It is not sure when the painting was drawn, but it is presumed that it was formed as a result of the spread of the Water and Land Ritual during the Chosun Dynasty. That the contents of Water and Land Ritual manual published in 1560's are very similar to the explanation of the painting demonstrates that the painting was constructed during the Dhosun Dynasty. It appears, in addition, that the painting was partially affected by Budhawkyung and the Water and Land Painting from China.
In Chapter Ⅲ, this study focuses on the form and style of the Nectar Ritual painting in the 16th and 17th century. The Nectar Ritual painting during that time shows a various forms and styles, which are assumed to be created while the manual of the Water and Land Ritual was being transferred to drawing. This chapter, based on the manual of the Water and Land Ritual, also investigates the meanings of all kinds of various food in the feast, the contents and meanings of the Buddhist ceremony, and characteristics of the greedy demon, which have received litter attention in extant literature.
Chapter Ⅳ examines the forms and styles of the Kam ro wang paining in the 16th and 17th century with respect to the composition, shape, line and color. It is shown that the composition was generally divided into three parts, the top, middle and bottom portion and the dolor was very bright and vivid.
Finally, examines the historical meaning of the Kam ro wang paining and its overall effects on the Buddism. The painting is the drawing of the content of the manual of the Water and Land Ritual. The painting also shows how the Buddism came to a popular people's religion and belief system under pressure of "anti Buddhism and pro Confucianism" during Chosun Dynasty.

목차 (Table of Contents)

• 목차 = 0
• I. 머리말 = 1
• II. 甘露王圖 圖像의 形成 問題 = 4
• 1. 甘露王圖와 水陸齋 = 4
• 2. 『묘법연화경』 「관세음보살보문품」 變相圖와 중국 水陸畵의 영향 6 = 8
• 3. 水陸齋 儀軟集의 영 향 = 14
• 4. 水陸齋 儀軟集과 甘露王圖의 傍題 비교 = 29
• III. 16, 17세기 甘露王圖 = 48
• 1. 16, 17세기 甘露王圖의 圖像 = 48
• 2. 16, 17세기 甘露王圖의 圖像的 特徵 = 69
• IV. 16, 17세기 甘露王圖의 樣式的 特徵 = 91
• V. 맺음말 = 94
• 부록 = 97
• 부록 1. 『天地冥陽水陸齋儀纂要』 下位篇과 甘露王圖의 傍題 비교 = 97
• 부록 2. l6세기말 甘露王圖(日本 光明寺 所藏) 圖解 = 99
• 부록 3. 南長寺 甘露王圖 圖解 = 100
• 參考 文獻 = 101
• ABSTRACT = 108
• 圖版目緣 = 110
• 圖版 = 113