朝鮮時代 三佛會圖 硏究 = A Study on Three Buddhas Painting in the Joseon Dynasty

다국어 초록 (Multilingual Abstract)

Three Buddhas Painting(三佛會圖) in the Joseon Dynasty, which is a explanatory depiction of 'Three Buddhas(三佛)', started to appear in early Joseon Dynasty and was produced intensively in late. 'Three Buddhas(三佛)' in the early Buddhism is the transformed iconography from 'Buddhas of Three Ages(三世佛)' which consists of Dipamkara(練燈佛), Sakyamuni(釋迦佛) and Maitreya(彌勒佛) meaning the three temporal states separately; the past, the present and the future. While the form of the three Buddhas remained from the temporal concept of 'Buddhas of Three Ages(三世佛)', the iconography changed as other replacing Buddhas started to be made up. Among them, 'Three Buddhas(三佛)', which is composed of the religious leaders, Amitabha(阿彌陀佛), Sakyamuni(Vairocana)(釋迦佛(毘盧遮那佛)) and Bhaisajyaguru(藥師佛) respectively ruling the world of suffering, the Western Paradise(西方淨土世界) and the Eastern Paradise(東方琉璃光世界) and the World of Suffering(娑婆世界), is made into Buddhist statues and paintings across the early Joseon Dynasty. d
Even though the Basic Buddhist Sutra(所依經典) about the 'Three Buddhas(三佛)' has not been discovered exactly, by inspecting Buddhist Sutra and Ritual Guides(儀式集), it is found that 'Three Buddhas(三佛)' was developed as one iconography was replaced with another Buddha following the transition of the religious belief and ideology. Meantime due to the control policy of Buddhism in the Joseon Dynasty, its religious situation worsened considerably. Thus it is considered that the three Buddhas painting of syncretic Buddhism was made actively in that time.
To examine three Buddhas painting, 'Three Buddhas(三佛)' and its Pparivāra(眷屬) were took into account respectively and found each feature. As The Three Buddhas painting(三佛會圖) composed of three widths is wider than one of one width, it had more components and was depicted faithfully in iconology. There are a piece of three Buddhas painting in early Joseon Dynasty and about 60 pieces in late now. So it is figured out that from early Joseon Dynasty ‘Three Buddhas painting’, the typical composition of three Buddhas, has been made. The paintings in late are classified under four types as the screen composition elements; Gapsa Temple(甲寺) type, Hwaeomsa Temple(華嚴寺) type, Yongheungsa Temple(龍興寺) type and Geumtapsa Temple(金塔寺) type. Each type was inspected closely also.
The three Buddhas painting of the Joseon Dynasty was influenced by the iconography of three Buddhas formed in China. And Woodblock Prints of Lotus Sutra(法華經變相圖)(1646) printed in Seonamsa Temple(仙巖寺) is similar to Three Buddhas painting in late Joseon Dynasty in respect of the screen composition elements. Therefore it is assumed that Three Buddhas painting in late Joseon Dynasty received the direct influence from Woodblock Prints of Lotus Sutra and was produced succeeding it.
The pictorial motif in Ming Dynasty like Xianfo qizong (󰡔仙佛奇蹤󰡕) and Sancai tuhui(󰡔三才圖會󰡕) was selected and reflected. Deviating from the typical composition of the three Buddhas, the position of the Sakyamuni was often moved to emphasize Amitabha and Bhaisajyaguru. Meanwhile after 19th century the iconography of Bhaisajyaguru started to be weakened and reduced. And flanked by two attendant Three Buddhas(三佛), is not distinguished iconigically but freely placed. Meantime the three Buddhas painting in the late Joseon Dynasty, which was created by the religious bond, seemed to be combined to other Buddha·Bodhisattva.
The style of the three Buddhas painting in the Joseon Dynasty was analyzed by the application of an example and affinity in style of painting. Through this work it is revealed that there was an awareness that people aimed to express differently while applying the example. And the affinity of painting was considered carefully when following the three divided lines of works and finding similar characteristics and differences among works. Meanwhile it is found that the iconography of Three Buddhas was accepted as a Mural and expressed in 17th-early 18th century.
In this study the Three Buddhas painting in the Joseon Dynasty, which is a significant work but slightly covered before, was examined in general. As Three Buddhas painting in the Joseon Dynasty is representative of the religious belief of three Buddhas which was constituted by the ideology of syncretic Buddhism in that time, it has a considerable part in Buddhist paintings of the Joseon Dynasty.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. ‘三佛’의 槪念과 信仰
• 1. ‘三佛’의 槪念과 名稱 4
• 1) ‘三佛’의 槪念 4
• 2) ‘三佛’의 名稱 11
• 2. ‘三佛’의 信仰 14
• 1) 所依經典 14
• 2) 儀式集 21
• 3. <三佛會圖>의 製作背景 24
• Ⅲ. 朝鮮時代 三佛會圖의 畵面構成과 現況
• 1. 三佛會圖의 畵面構成 27
• 1) 三佛 圖像 27
• 2) 脇侍菩薩 및 眷屬 33
• 3) 十大弟子 圖像 42
• 4) 四天王 圖像 45
• 5) 其他 圖像 48
• 2. 三佛會圖의 現況 52
• 1) 朝鮮前期 三佛會圖 52
• 2) 朝鮮後期 三佛會圖 58
• (1) 甲寺本 유형 58
• (2) 華嚴寺本 유형 65
• (3) 龍興寺本 유형 73
• (4) 金塔寺本 유형 86
• Ⅳ. 朝鮮時代 三佛會圖의 樣相
• 1. 圖像의 受容과 繼承 94
• 2. 圖像의 變容 99
• 1) 모티프의 차용 99
• 2) 三佛 構成의 다양성 105
• 3) 脇侍菩薩 構成 변화 112
• 3. 他 佛‧菩薩과의 結合 116
• 1) 三身佛 116
• 2) 彌勒佛 120
• 3) 千佛 122
• 4) 地藏菩薩 124
• 5) 觀音菩薩 125
• Ⅴ. 朝鮮時代 三佛會圖의 樣式
• 1. 模本의 活用 131
• 1) 雲興寺 大雄殿 <三佛會圖>와 甲寺 大雄殿 <三佛會圖> 131
• 2) 佛甲寺 大雄殿 <三佛會圖>와 白蓮寺 大雄寶殿 <三佛會圖> 136
• 3) 華嚴寺 覺皇殿 <三佛會圖> 140
• 2. 畵風의 친연성 142
• 1) 善國寺 大雄殿 <三佛會圖> 계열 142
• 2) 瑞山 文殊寺 極樂寶殿 <三佛會圖> 계열 149
• 3) 龍珠寺 大雄寶殿 <三佛會圖> 계열 153
• 3. 壁畵의 三佛會 圖像 158
• Ⅵ. 맺음말 166
• 【參考文獻】 169
• 【表 目錄】 178
• 【揷圖目錄】 179
• 【圖版目錄】 181
• 【圖 版】 187
• 【附 錄】 221
• 【Abstract】 240