兵庫縣 十輪寺 所藏 五佛會圖 硏究

다국어 초록 (Multilingual Abstract)

Five-Buddha Painting(五佛會圖) presents an embodiment of many different Buddhas on the canvas, being housed at the Jurinji Temple(十輪寺), Hyōgo Prefecture(兵庫縣). This painting used to be considered as a Buddhist painting created in Ming Dynasty of China. It was in 1990 when it was proven to be a Buddhist painting from the former part of Joseon by Takeda Kazuaki(武田和昭). Since then, researches on this work have focused on the interpretations of its certain icons in a certain viewpoint, lacking in analysis to encompass the entire work and failing to investigate the nature of the work. This study thus set out to examine the creative backgrounds of the painting in details and consider its characteristics and meaning through its analysis.
Joseon suppressed Buddhism under the national ideology of Confucianism, but the royal family took Buddhism as their faith, which became the driving force for Buddhist services during the former part of Joseon. As its Hwagi(畫記) has been peeled off, it is difficult to check the entire content of the painting. Some remaining letters, however, offer some clues to guess its content. The letters that look like ‘大妃殿下’ are, in particular, estimated to represent ‘仁粹大妃(Insu Daebi)’ that vitalized active Buddhist services in the 15th century. They were compared with the records of annals those days to figure out the source of the work.
The Five-Buddha Faith is not found in the scriptures. It was a new type of faith combining Trikāya-Buddha with Three Buddhas in the former half of Joseon. Sariyeongeunggi(舍利靈應記) published under the order of Sejong the Great in 1449 offers records the aspects of faith combined with Five Buddhas, being considered as an important historical material to check the religious backgrounds of Five-Buddha Painting(五佛會圖).
This painting accepts the Buddhist painting styles of Goryeo, being commissioned by the royal family. It helps to understand the Buddhist painting styles of Joseon established in the 15th century, as well. Its style was inherited in Buddhist paintings created in the latter half of Joseon including the 16th century. Five-Buddha Painting(五佛會圖) is an important Buddhist painting as a bridge between the Buddhist paintings of Goryeo and those of Joseon in its latter part.
Some of the icons in the painting follow the tradition, and others are new ones. The Chinese print was introduced into Joseon through its exchanges with Ming and accepted in the icons of print published in Joseon. This acceptance of icons was also found in Five-Buddha Painting(五佛會圖), which helps to understand its influential relations with the print introduced into Joseon through its exchanges with China those days.
A closer look at the painting shows that it consists of three parts: the upper part depicts the realm of Buddhism under Vairocana; Locana, Bhaishajyaguru, and Amitabha are located at the center as they have the nature of Sambhoga-kaya Buddha; and the bottom part expresses this world of Sakyamuni. The painting is about Trikāya-Buddha. Amitabha, in particular, attracts attention for a clear alms bowl in his hand. Amitabha holding an object is not part of the traditional iconography but under the influence of China and other regions. In addition, there is a figure with a crown depicted bigger than other figures, which suggests that the figure holds certain significance. Given the premise that this painting was commissioned by Insu Daebi(仁粹大妃), the figure seems like her embodiment.
Five-Buddha Painting(五佛會圖) depicts a journey of Sakyamuni from this world to the realm of Buddhism under Vairocana, representing people's yearning for the realm of Buddhism. It embodies a new faith in the former part of Joseon and accepts icons in the Chinese print as well as techniques of Goryeo's Buddhist paintings, playing a pioneering role in the creation of Buddhist paintings in the former half of Joseon.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• 1. 연구목적 1
• 2. 연구방법 4
• Ⅱ. 五佛會圖의 제작배경 7
• 1. 15세기 왕실의 불교정책과 佛事 7
• 2. 화기분석 및 제작시기 18
• Ⅲ. 五佛會圖의 신앙 29
• 1. 화엄사상과 三身佛 29
• 2. 법화사상과 三佛 34
• 3. 五佛 신앙의 성립 39
• Ⅳ. 五佛會圖의 양식 43
• 1. 표현기법 46
• 2. 양식적 특징 54
• 1) 선행 양식의 수용 54
• 2) 15세기 양식의 확립 60
• 3) 양식의 계승 65
• Ⅴ. 五佛會圖 도상의 성립 75
• 1. 중국 판화의 유입과 수용 75
• 2. 도상분석 82
• 3. 도상의 계승 102
• 1) 五佛會 도상 102
• 2) 三身佛 도상 105
• 3) 三佛會 도상 108
• Ⅵ. 맺음말 110
• 【參考文獻】 114
• 【表 目錄】 134
• 【揷圖目錄】 135
• 【圖版目錄】 137
• 【圖 版】 147
• 【附 錄】 174
• 【ABSTRACT】 192