國立中央博物館 所藏 1562年 四佛會圖 硏究 = A Study of Four Buddhas Painting Dated to 1562 on National Museum of Korea

다국어 초록 (Multilingual Abstract)

One of the collection of National Museum of Korea, A Study of Four Buddhas Painting Dated to 1562(below Four Buddhas Painting), has a capital composition feature collecting 4 Buddhas all together, Sakyamuni, Bhêchadjaguru, Amitabha, Maitreya and its feature appears only in the early days of Buddihistic picture of the Joseon Dynasty. Other than the King Taejo Lee Sung-gye and a few kings, Joseon continued the oppressing Buddhism policy. However unlike country’s policy, royal family kept Buddhistic beliefs. King’s wives and the royal family were the main patron group for Buddhist service in the early Joseon Dynasty.
Also a Buddhist service of royal family performed on a large scale, for example, they released a huge amount of scripture or produced lots of Buddhistic painting all at once. <Four Buddhas Painting> is closely linked to the era situation in the early of Joseon Dynasty. First of all, 1562 the production time, the middle of 14 century was the time of King Myeongjong reigning period so the main Buddhism sponsor Queen Munjeong strongly supported. Therefore Buddhism is the main stream of that day. We suspect that the background of <Four Buddhas Painting>’s appearance was influenced by the early time of Joseon Dynasty royal family.
One of the collections of National Museum of Korea, <Sabulhoegido> is rose by Pungsan-gun Lee jongin of the royal family. The purpose of this is to pray the gentle death of his grandfather KwonChan, grandmother Lee and health, longevity and peaceful life of living maternal grandmother and his parents. Especially, we think that this work is based on Gwonchan’s death and based on the size of this work, we expect that he enshrined at Wondang so enshrining place Sangwonsa Temple must have something to do with Kwonchan Wonchal or Wondang temple.
Meanwhile, when we take a look at composition of <Four Buddhas Painting>, one of the collections of National Museum of Korea, it has nothing to do with the content of scripture. On the other hand, Korean traditional Stone Buddhas has Buddha, Bhêchadjaguru, Amitabha, Maitreya and this iconographic composition can be found at Stone Buddhas of the united Silla period or on a piece of pagod. So it could be established according to <Four Buddhas Painting>. With this, we can think of the impact of <Shurangama Sutra> explains how to decorate the room. At that time we can see the 5 Buddha’s composition. Vairocana, Buddha, Ahchokbul, Amitabha, Maitreya. But Buddha in <Avatamska Sutra> is described as the same Vairocana and considering of the case of Stone Buddhas, Ahchokbul has already changed into eastern Buddha. So the composition of <Shurangama Sutra> is similar to Buddha, Yakka, Amitabha, Maitreya like <Four Buddhas Painting> and with a huge popularity of <Shurangama Sutra>, it could be influenced to the production of <Four Buddhas Painting>.
Also, the tendency for combining necessary scripture such as <Ukyunghapbu> by Seongdalsaeng appeared in 1424, the early Joseon Dynasty. <Ukyunghapbu> case can suspected that the conception for making one Buddha concept in Buddhistic painting is formed based on the religious tendency in the early Joseon Dynasty royal family.
Next, when you look at <Four Buddhas Painting> of National Museum of Korea, Dangchowonmun succeeded royal style faithfully such as slit eyes, small lips, Buddha’s facial expression, various pattern and using gold. And the representative factor since 16th century is Buddha of Hangmachokjjiin. Su-in of Hangmachokjjiin seemed to be established based on Myung’s block book so it appears from the royal source Buddhastic painting which can easily meet new road bed. Particularly, <painting of Preaching Buddha>(1560) of Queen Munjeong at Christie´s recently has Su-in of Hangmachokjjiin and previously it is found at <Six Buddhas Painting>(Joseon Dynasty 1488~1505) of Japanese 西來寺 and <Five Buddhas Painting>(Joseon Dynasty 1490)’s Buddha’s road bed. This kind of Hangmachokjjiin Buddha’s road bed continues to the late Joseon Dynasty afterwards.
<Four Buddhas Painting> form succeeds court painting style and actively reflects 16th century’s Buddhistic paintings at the same time. Thus, <Four Buddhas Painting> of National Museum of Korea expresses earlier days composition factor in Buddhistic painting in one screen. It is meaningful to show the identity and diversity in early days of Joseon.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• 1. 연구의 목적 1
• 2. 연구의 범위 및 방법 4
• Ⅱ. 四佛會圖의 제작배경 6
• 1. 조선전기 왕실의 불교 신앙 6
• 2. 화기내용 26
• Ⅲ. 四佛會圖의 도상 분석 39
• 1. 화면구성 및 도상 39
• (1) 도상과 존명 39
• (2) 신앙의 성격 50
• 2. 四佛會 도상의 성립 56
• (1) 四面石佛 전통의 계승 56
• (2) 合部經典의 성립 66
• 3. 四佛會圖 도상 분석 및 제작사례 69
• (1) 四佛會圖 도상분석 69
• (2) 多佛會圖의 제작 사례 83
• Ⅳ. 四佛會圖의 양식 89
• 1. 표현기법 91
• 2. 양식적 특징 105
• (1) 선행 양식의 수용 105
• (2) 16세기 양식의 확립 112
• (3) 양식의 계승 118
• Ⅴ. 맺음말 123