朝鮮 後期 민화와 불화의 연꽃도상 연구 = A Study on East Indian Lotus Icons in Folk Painting and Buddhist Paintings in the Late Chosun Dynasty

다국어 초록 (Multilingual Abstract)

East Indian lotus is a plant that was vested with a clear significance thanks to its unique function and, as a result, became an object of worshipping by guarding the seat of divinities. The symbol reflected on the natural object East Indian lotus implies religious and philosophical elements. Besides resurrection, revival, abundance, etc. symbolized by the icon of East Indian lotus, the plant has been used broadly as medicine and food.
Different from other plants that have vegetative growth and then reproductive growth, East Indian lotus has both reproductive growth and vegetative growth at the same time. Because of the ecological characteristic of lotus, it was vested with religious perpetuity in ancient religions, in particular, Hinduism and Buddhism.
The symbolic meaning of lotus can be found also in the shape of lotus seed. On the contrary, water lily does not show its seeds outside the water but it keeps them under the water until they ripe, and then rotten seeds are sent out for multiplication.
Through the origin and symbol of East Indian lotus icons, this study attempted to find the meanings and origin of East Indian lotus depicted in Korean folk paintings popular in the late Chosun Dynasty, and lotus pond and East Indian lotus held by Buddhist images in Buddhist paintings, in particular, Gwangyeongbyeonsangdo and Gwaneumdo. We compared the meanings and symbols of East Indian lotus icons drawn in Buddhist paintings with East Indian lotus icons drawn as auspicious symbols in folk paintings. The expression style of East Indian lotus in folk paintings was compared with picture books like Gaejawonhwajeon, which is considered to have been introduced first to the royal court in the late Chosun Dynasty, and similarities and differences between them were identified.
Each country, locality and age has unique trends and values of different social and cultural background. However, if there is a universal object comprehending all ages and religions, it may be helpful to understand the aesthetic sense penetrating through history from the past to the present. East Indian lotus has various symbolic meanings together with its unique size, color, beauty and fragrance, so it has been loved by various classes and cultures. In the history of fine arts, the icon of East Indian lotus has been expressed to have certain symbols and values, and the diversity of aesthetic sensitivities reflected in East Indian lotus was studied. In addition, in order to explore the developmental process of fundamental Oriental culture and the original ideas and forms of Oriental fine arts, we examined the origin and description of symbols expressed commonly through countries and ages using natural object East Indian lotus.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 연꽃의 生態와 상징성 4
• 1. 연꽃의 生態 4
• 1) 연꽃 7
• 2) 수련 9
• 2. 연꽃 도상의 상징성 12
• 1) 인도 15
• 2) 중국 20
• 3) 한국 25
• Ⅲ. 朝鮮 後期 민화의 연꽃 도상 28
• 1. 책가도·문자도 29
• 2. 화훼·화조도 38
• 3. 연화도 42
• 4. 기타 46
• Ⅳ. 朝鮮 後期 불화에 표현된 연꽃 49
• 1. 觀經變相圖에 나타난 蓮池 50
• 2. 蓮華化生과 觀世音菩薩의 지물 55
• Ⅴ. 朝鮮 後期 민화와 불화의 연꽃 도상 65
• 1. 구품도와 민화의 연지 65
• 2. 畵譜가 연꽃그림 도상에 미친 영향 68
• 1) 연꽃 71
• 2) 연잎 78
• Ⅵ. 맺음말 85
• 참고문헌 87
• ABSTRACT 93