朝鮮後期 毘盧遮那佛圖의 硏究

다국어 초록 (Multilingual Abstract)

The purpose of this study was to give an overall review to the paintings of Vairocana (毘盧遮那佛圖) in the second half of Joseon. Resetting the "paintings of Vairocana" as a broad term, the study included all paintings with Vairocana making the bodhaŚrī-mudrā at the central position in the painting and with Buddha being highlighted greatly and preaching Buddhist teachings under the category of paintings of Vairocana. In other words, the paintings of Vairocana make a case of paintings of Preaching Buddha with Vairocana situated at the center and combined with different elements according to the location of enshrinement and the situation of the times.
The main body first examined the backgrounds of paintings of Vairocana along with the spread of Avatamska Faith (華嚴信仰). It then categorized the paintings of Vairocana created in the latter half of Joseon into the paintings of Preaching Vairocana, the paintings of Buddhas of the Three Bodies (三身佛圖), and Buddhist paintings combined over two Buddhas (多佛會圖) according to icons and investigated how the content of Scriptures was illustrated according to those categories. The current states of works in each category were examined to figure out changes to the screen composition and compare and analyze the icons.
The next chapter traced the developmental patterns of paintings of Vairocana through the acceptance and alteration of previous icons, finding a case in the adoption of icons of Buddhist sermons made as a model in the former half of Joseon as well as the ones that had been passed down since Goryeo. As for the alteration of icons, the dependents were omitted due to the changing elements of screen composition examined earlier, which offered a chance to examine the backgrounds of the times accordingly. Another case of alteration involved combination with the icons of Avalokitesvara Bodhisattva. That phenomenon was shared in the paintings of Preaching Buddha as well as those of Vairocana. Those changes influenced other Buddha paintings according to the spread of faith for blessing of Amitabha, which leads to an estimation that the paintings of Vairocana must have been included as one of the cases. There were also cases of direct acceptance from the paintings of Preaching Amitabha to those of Preaching Vairocana, which points to the case of uncritical acceptance.
The study also looked into the styles of paintings of Vairocana in the latter half of Joseon, taking the above-mentioned similarities of icons into deep consideration and examining the cases of affinity to the paintings of Vairocana during the period. The items were mainly divided into the utilization of a model, the locality of painting styles and the exchange of painting styles. In the utilization of a model, enough similarities were detected to estimate that the screen compositions and icons must have moved Cho (草, a type of sketch), but the investigator selected and examined the pieces that exhibited differences in the expressive technique. In the locality of painting styles, the study detected the expressive style of sharing the styles of the times and, at the same time, concentrating them locally, which led to the examination of favorite painting styles by the regions in the second half of Joseon. In the exchange of paintings styles, the investigator detected a style shared at a Buddhist temple and estimated the painter of unknown authorship. Cases of similar expressive techniques were found in distant areas even though they were not found in the records, which led to the estimation of their influential relations.
The paintings of Vairocana hold their value as works to show an aspect of Avatamska Faith, a major flow in the Buddhist society in the latter half of Joseon. The present study set out to examine Buddhist paintings related to Avatamska Faith in a total approach including the paintings of Preaching Vairocana, which were created independently and yet had not attracted attention for their importance, thus filling the gap that was left as a task in the previous studies. It thus conducted a multifaceted research on the paintings of Vairocana in the latter half of Joseon by examining the developmental patterns of icons and comparing and analyzing the painting styles closely during the period.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 華嚴 信仰의 擴散과 製作背景 5
• 1. 華嚴 信仰의 擴散 5
• 1) 佛身觀의 變化 6
• 2) 信仰의 擴散 8
• 2. 所衣經典 및 關聯 佛典 16
• Ⅲ. 朝鮮後期 毘盧遮那佛圖의 圖像 23
• 1. 毘盧遮那佛 圖像 23
• 2. 三身佛 圖像 41
• 3. 多佛 圖像 53
• Ⅳ. 朝鮮後期 毘盧遮那佛圖의 樣相 59
• 1. 先行 圖像의 受容과 繼承 59
• 1) 先行 圖像의 繼承 60
• 2) 他說法圖像의 援用 66
• 2. 圖像의 變容 71
• 1) 畵面構成의 多樣性 71
• 2) 觀音圖像의 受容 74
• Ⅴ. 朝鮮後期 毘盧遮那佛圖의 樣式 77
• 1. 模本의 活用 77
• 2. 畵風의 地域性 86
• 1) 전라도 지역 86
• 2) 경상도 지역 88
• 3. 畵風의 交流 90
• Ⅵ. 맺음말 94
• 【參考文獻】 97
• 【表 目錄】112
• 【揷圖目錄】 113
• 【圖版目錄】 115
• 【圖 版】 119
• 【附 錄】 136
• 【ABSTRACT】 143