朝鮮時代 釋迦八相圖 硏究 = A Study on The Painting of Eight Scenes from Lite of the Buddha of Joseon Period

다국어 초록 (Multilingual Abstract)

Seokgapalsangdo(釋迦八相圖) refers to the painting in which Sega Yeorae's entire life(佛傳) is depicted in contracted eight scenes(八相), and thus is so named. Eight scenes represent the descent from Tusita Heaven(兜率來義相), the birth in Lumbini(毘藍降生相), four encounters through the four gates(四門遊觀相), the great departure(踰城出家相), the life of austerities(雪山修道相), the attack of Mara(樹下降魔相), the great preaching(鹿苑轉法相) and the great nirvana in the Sala grove(雙林涅槃相).
Seokgapalsangdos of the Joseon era which have been passed down through today include six works created in the former Joseon period and about 30 works in the latter Joseon period, including works which were stolen and thus their location have not been identified. Seokgapalsangdos which have been passed down through today were mostly created between the 18th and 19th century, but related materials reveal that they began to be created in the former Joseon era.
There are lots of sutras regarding Seokga Yeorae's life, including representative ones such as 󰡔Gwageohyeonjaeingwagyeong󰡕(過去現在因果經), 󰡔Bulbonhaenggyeong󰡕(佛本行經), 󰡔Seokgabo󰡕(釋迦譜), 󰡔Bulbonhaengjipgyeong󰡕(佛本行集經) and 󰡔Cheontaesagyoui󰡕(天台四敎義). The origins of the titles for the subject matters of eight scenes of Seokgapalsangdo have not been known clearly, however, it is generally accepted that four places were added to the four existing sacred places visited by pilgrims to form eight sacred places, and later the concept of eight scenes was established. Although the eight scenes of Korean Seokgapalsangdo were imported from China, no paintings with a subject matter regarding eight scenes have been found in China. This indicates that Seokgapalsangdo was used to represent all Buljeondos. On the other hand, Seokgapalsangdos with the same subject matter was created in Korea since the subject matters of eight scenes were introduced to 󰡔Seokbosangjeol󰡕(釋譜詳節) and 󰡔Wonlinseokbo󰡕(月印釋譜).
The Seokgapalsangdo of the former Joseon era is different from that of the latter Joseon period in the way to depict figures in the painting. Judged from the works which have been passed down through today, this appears to be because texts that influenced the creation of Seokgapalsangdo were different. That is, the Seokgapalsangdo of the former Joseon era was influenced by 󰡔Seokbosangjeol󰡕 and 󰡔Wonlinseokbo󰡕, and that of the former Joseon era by 󰡔Seokssiwonlyueunghwasajeok󰡕(釋氏源流應化事蹟) which was imported from China in the late 17th century. And this created differences in the figures between Seokgapalsangdos of the former Josoen era and that of the latter Joseon era.
The Seokgapalsangdo of the former Joseon era was affected by the figures depicted in Palsangpanhwa of 󰡔Seokbosangjeol󰡕. Besides, Seokgapalsangdos that express figures different from those depicted in Palsangpanhwa of 󰡔Seokbosangjeol󰡕 were also created. The Seokgapalsangdo of the latter Joseon era depicts figures clearly different from those in the Seokgapalsangdo of the former Joseon era. Especially works that accept figures in Palsangpanhwas of 󰡔Seokbosangjeol󰡕, like Seokgapalsangdo of Hwakwangsa(華光寺本) and Yongmunsa(龍門寺本), were produced. All of the Seokgapalsangdos created thereafter were influenced by 󰡔Seokssiwonlyueunghwasajeok󰡕, establishing the figures in the Seokgapalsangdo of the latter Joseon era and showing more of the characteristics of features in former Seokgapalsangdos than the influence of printings of the painting.
Along with this, the characteristics of the figures in Seokgapalsangdo of the Joseon era were categorized into acceptation, inheritance, change and creation’ based on factors that comprise the painting and then examined. The key content of Seokgapalsangdo of the Joseon era tended to be accepted and inherited without big changes, which is considered as a phenomenon that the scene depicted in the painting is attributed to the key content of eight scenes which can not be constant. Besides, features changed diversely and scenes newly interpreted by painters are noticeable. Finally, the characteristics of the style of Seokgapalsangdo were examined based on works depicting the same figures, the sharing of figures among painters and the use of the same figures. In the case of Seokgapalsangdo, figures of the painting tended to be inherited through painters. In the study, changes made by omitting or rearranging scenes according to the size of the same figures were explored. Moreover, as for works whose creation times were not identified, the creation times of the works were estimated based on expression techniques. In the 19th and 20th century in Seoul and Gyeonggi region, division Seokgapalsangdo in which eight scenes were depicted one or two papers divided into eight parts was popular, which was considered to be related to a place for veneration. It is not easy to produce the first draft of Seokgapalsangdo, the painting that depicts the various personal experiences of Seokga Yeorae. This indicates that there are detailed differences in Seokgapalsangdo according to painters and eras though the figures depicted in the paintings have been passed down without big changes and thus look similar.

목차 (Table of Contents)

• Ⅰ. 序論 = 1
• 1. 硏究目的 = 1
• 2. 硏究內容과 方法 = 3
• Ⅱ. 釋迦八相圖의 槪念과 成立背景 = 6
• 1. 名稱과 槪念 = 6
• 2. 圖像의 成立背景 = 19
• Ⅲ. 朝鮮時代 釋迦八相圖 圖像의 成立 = 30
• 1. 朝鮮前期 釋迦八相圖 = 30
• 2. 朝鮮後期 釋迦八相圖 = 54
• 1) 전통 圖像의 受容 = 54
• 2) <釋氏源流應化事蹟> 圖像의 受容 = 64
• Ⅳ. 朝鮮時代 釋迦八相圖 圖像의 特徵 = 84
• 1. 圖像의 受容과 繼承 = 84
• 2. 圖像의 變容 = 100
• 3. 圖像의 創出 = 109
• Ⅴ. 朝鮮後期 釋迦八相圖의 樣式的 特徵 = 113
• 1. 圖像의 共有 = 113
• 1) 畵師 교류를 통한 圖像의 共有 = 113
• 2) 동일 圖像의 活用 = 124
• 2. 화면분할식 圖像의 盛行 = 146
• Ⅵ. 結論 = 154
• 【參考文獻】 = 172
• 【表 目錄】 = 179
• 【揷圖目錄】 = 180
• 【圖版目錄】 = 182
• 【圖 版】 = 187
• 【ABSTRACT】 = 266