朝鮮後期 十六羅漢圖 硏究

다국어 초록 (Multilingual Abstract)

This study about the paintings of the Sixteen Lohans in the latter half of the Choson dynasty, and the purpose of this paper is not only to clarify the stylistic aspect and distinguish the chronolic for them, also search fot the meaning on Buddhistic painting, specificational field.
First is the concept of the Sixteen Lohans. The idea and member is completed as the basic sutra of Nandimitravadana(). According to Nandimitravadana, it is their mission that do 'Protecting Dharma' and 'Thriving the People'. So the Sixteen Lohans are the Mahayanistic Being() differed from other Hinayanistic Lohans(). It is very the specificity of the idea of the Sixteen Lohans.
They are named that the first priest Pindola-bharadraja, second priest Kanaka-vatsa, third priest Kanaka-bharadvaja, fourth priest Subinda, fifth prist Nakula, sixth priest Bhadra, seventh priest Kalika, eighth priest Vajraputra, ninth priest Jivaka, tenth priest Panthaka, elevent priest Rahula, twelfth priest Nagasena, thirteenth priest Angaja, fourteenth priest Vanavasi, fifteenth priest Ajata, sixteenth priest Cudapanthaka. Each of them has a interesting episode, was getting to familiar with people and was popular especially the iconography which had a view of free compare with different Buddhistic paintings.
In china, there were expanded of trust in Lohans in dynasty of Tang and dynasty of Song, since 5 Countries. In Korea, there were becoming exterm on Lohans in dynasty of Koryo, were held Ceremony of Lohan or Ceremony of 500 Lohan. But present Sixteen Lohan paintings left, in the latter half of the Choson dynasty, were understood the consequence of popular Jenism and lively Buddhism's working after double wars and that was compulsoried Buddhism on social to got a sort of social events to make a big role to save terrible country war.
They said that Buddhistic thought was able to popular one, and then, was presented strong about Buddhism Art. Especially, because people were interested in Sixteen Lohans and they were much popular to general people highly, regarding to priests, be painted Sixteen Lohans a lot, as discipline the extreme themselves.
The iconological study of the painting of the Sixteen Lohans in the latter half of the Choson dynasty. For the purpose of the iconological study, the results of having selected and analyzed the main four subject s-'the type of Lohan who has Indian-faced()', 'the type of Lohan who has monk-faced()', 'the type of Lohan who were influenced by the chinese icon book()', 'the type of Lohan who were a Taoist()'.
I've distinguished them in accordance with stylistic changing between 18th century and 19th century, early 20th century.

목차 (Table of Contents)

• 〈목차〉 = 0
• Ⅰ. 머리말 = 1
• Ⅱ. 十六羅漢의 起源 및 成立 = 4
• 1. 十六羅漢의 性格-小乘的 羅漢의 大乘的 = 4
• 2. 十六羅漢의 名稱 및 成立過程 = 4
• 3. 十六羅漢의 住處에 대한 考察 = 4
• Ⅲ. 羅漢信仰과 羅漢圖의 展開 = 17
• 1. 中國의 羅漢信仰과 羅漢圖 = 17
• 2. 韓國의 羅漢信仰과 羅漢圖 = 17
• Ⅳ. 朝鮮後期 十六羅漢圖의 形式 및 圖像 特徵 = 40
• 1. 構成 形式 및 現狀 = 40
• 2. 朝鮮後期 十六羅漢圖의 圖像 特徵 = 40
• Ⅴ. 朝鮮後期 十六羅漢圖의 樣式 變選 = 93
• 1. Ⅰ기(18세기) ; 傳統樣式의 繼承期 = 93
• 2. Ⅱ기(19세기~20세기초) ; 韓國的 變容期, 近代的 畵風의 登場期 = 93
• Ⅵ. 朝鮮後期 十六羅漢圖의 佛敎續畵史的 意義 = 100
• Ⅶ. 맺음말 = 103
• 圖表目錄 = 103
• 參考文獻 = 103
• ABSTRACT = 103
• 圖版目錄 = 103