十牛圖 硏究 = A study of seon thoughts reflected in the ten oxherding pictures

다국어 초록 (Multilingual Abstract)

The ten oxherding pictures is a work developed by Gwak Am and is directly connected to the seon's ascetic exercises method in the Song Dynasty. Some Zen priests of the early Song Dynasty often misunderstood spirits of「the mind is just a Buddha」of an assertion of Josaseon or「the mind at usual time is truth」as ‘a Buddha endowed with wisdom and personality'.
Daehyejonggo claimed ascetic exercises of ganwhaseon that learns Buddhism by experience by studying a catechism to rescue these ascetics without an eye, and the ten oxherding pictures of Gwak Am is to show a process of enlightenment through the ascetic exercises of Seon Buddhism by harmony between influence of Imjejong's Ganhwaseon and a circle form of Wiangjong on the basis of the oxherding pictures of the existing Jodojong style in new drawing forms of 10 scrolls.
The ten oxherding pictures is originated from an ox's symbol appeared in the Sutras and there are the ten oxherding pictures of Gwak Am of the Song Dynasty and the ten oxherding pictures of Bomyeong as typical works. The oxherding pictures of Bomyeong stresses ascetic exercises with the objective of reaching enlightenment, whereas the ten oxherding pictures of Gwak Am show the spirit of ascetics learning Buddhism to perform and practice Buddhism because it suggests a process of enlightenment and the work that an enlightened person must do.
The previous Seon monks of Josaseon in the Tang Dynasty had developed Buddhism introduced from India as a religion of life to allow Chinese people to easily understand and practice. Analects. which record normal dialogues or languages and behaviors, etc. of a master as it is, became to appear, and the ascetic method of Ganhwaseon reading analects and studying a catechism became to generate.
However, the dialogue of the previous monks appeared in the analects would be a usual language at the time, but the dialogue of analects has a difficult aspect like the Sutras to the present era's people because those are Chinese language and old language not used at present.
However, what the ten oxherding pictures can be still seen in a temple's wall painting in spite of being a painting form of the Song Dynasty is that those are transferring the meaning with a modeling language which is a worldwide official language, and the shape of an ox and a shepard handling the ox appeared in the ten oxherding pictures has an aspect being matched with the phenomenon to train the ox as a means for farm work, so the meaning can be easily understood.
Namely, whereas delivery of Buddhism through language characters of the Sutras or analects could bring side-effects such as misunderstanding and an illusion, delivery of Buddhism through a modeling language can buffer the above-mentioned side effects as well as popularize Seon. Of course, it should contain seon-like enlightenment by inside experience of the artist as well as an artistic tone and quality of the work that can make people seeing it realize.
Therefore, continuous researches of artists are required to easily suggest Buddhism as a modeling language to the present age's people, and I wish that as zen's paintings for education like the ten oxherding pictures became much, the teachings of Buddha could be shared together with Buddhists as well as other religious persons.

목차 (Table of Contents)

• Ⅰ. 序 論 = 1
• 1. 硏究의 目的 = 1
• 2. 硏究의 方法과 範圍 = 2
• Ⅱ. 十牛圖의 역사적 성립배경 = 4
• 1. 農耕生活文化와 소 = 4
• 2. 佛敎의 소에 관한 譬喩와 根據 = 5
• (1) 經典에 나타난 소의 비유 = 5
• (2) 語錄에 나타난 소의 비유 = 8
• 3. 禪宗의 一圓相 = 12
• (1) 一圓相의 전래 = 12
• (2) 一圓相의 사상적 의미 = 16
• Ⅲ. 十牛圖의 성립과 발전 = 19
• 1. 普明禪師의 牧牛圖 = 19
• (1) 牧牛圖의 구조와 내용 = 19
• (2) 牧牛圖의 사상과 실천정신 = 24
• 2. 廓庵禪師의 十牛圖 = 26
• (1) 十牛圖의 구조와 내용 = 26
• (2) 十牛圖의 사상과 실천정신 = 31
• Ⅳ. 한국의 尋牛頌 = 34
• 1. 鏡虛禪師의 尋牛頌 = 34
• 2. 萬海禪師의 尋牛詩 = 36
• 3. 白峯居士의 尋牛頌 = 38
• Ⅴ. 禪宗畵로서 十牛圖 = 41
• 1. 禪宗畵의 개념 = 41
• 2. 十牛圖의 특성 = 42
• Ⅵ. 結 論 = 43
• 參 考 文 獻 = 45
• 參 考 圖 版 = 48
• ABSTRACT = 51