朝鮮時代 三藏菩薩圖 硏究 = (A) Study on the tripitaka painting of Joseon period

다국어 초록 (Multilingual Abstract)

The Tripitaka Painting appearing as new Buddhist iconology began to be showed up in Joseon Dynasty. This painting not appeared to Goryeo period is the special iconology that can not find the basic sutra, and had a difficulty in examining the origin. Coming to recent days, the origin of iconology is clarified through the records of Bumumjip and land and water painting of Yuan and Ming dynasty. But the origin of Tripitaka Painting that has become clear until now stay hypothetical. So emphasis is placed on the origin of Tripitaka Painting, and the iconology of this painting is studied clearly in this paper.
The belief of Tripitaka that can save the Three Realm became popular to people beyond social position in Joseon period. The oldest Buddhist ritual books appearing Tripitaka Ritual is water and land ritual book published in 1470. This book written by Zhi Ban who was monk of Cheontae order in Song Dynasty appeared Tripitaka Ritual as the middle platform ritual. The period that established iconology of Tripitaka Painting is supposed to Yuan and Ming dynasty.
The Tripitaka Painting is the work that illustrate Tripitaka Bodhisattva in a scroll. This painting is supposed to be appeared due to the prevalence of water and land ritual in the early Joseon period. Coming to Qianlong era this painting became popular, the existing works painted in this period are superior to other works.
The Tripitaka Painting of Shin-Hasedera Temple (新長谷寺) in Japan is the oldest work painted in 1550 that shows the influence of Yuan and Ming's water and land painting. In the 16th century the iconology of Tripitaka Painting was come to stay.
In the early Tripitaka Painting literary man, military man were appeared as attendants, however, after the 18th century attendants were changed as Bodhisattva figure. In addition the prevalence of Guardian painting and Mountain God painting have an effect on the Tripitaka Painting. As a reslut of this tendency, guardian and mountain god were emphasized, the combination of Tripitaka Painting and Guardian Painting was appeared.
This painting was producted in northern Gyeongsang province in the early period, but after the 18th century this painting became popular in all over the country. Especially the style of southern Gyeongsang province centering Tongdosa temple, that of southern Jeonnam province centering Seonamsa temple and Hungguksa temple are conspicuous. Coming to the late Joseon period, the Tripitaka Painting of the special type was painted centering Gyeonggi province.
The Tripitaka Painting as a Buddhist painting for ritual has a origin sutra, has developed as a middle platform Buddhist painting of all three platforms Buddhist paintings. In iconology this painting was effected by Yuan and Ming's water and land painting. Also this painting has an effect on forming iconology such as guardian painting, mountain god painting and, hermit painting that became popular in the late Joseon period.

목차 (Table of Contents)

• 目次 = Ⅰ
• Ⅰ. 序言 = 1
• Ⅱ. 三藏菩薩圖의 起源과 展開 = 5
• 1. 三藏菩薩圖의 起源 = 5
• (1) 三藏菩薩圖에 關한 文獻的 考察 = 7
• (2) 三藏菩薩圖의 圖像的 考察 = 14
• 2. 三藏菩薩圖의 成立 = 18
• (1) 中國 元明代 水陸法會圖 = 19
• (2) 朝鮮初期 三藏菩薩圖의 成立背景 = 24
• Ⅲ. 三藏菩薩圖의 圖像 = 28
• 1. 天藏菩薩과 天藏菩薩會衆 = 28
• (1) 天藏菩薩의 圖像 = 29
• (2) 天藏菩薩會衆의 圖像 = 32
• 2. 持地菩薩과 持地菩薩會衆 = 35
• (1) 持地菩薩의 圖像 = 36
• (2) 持地菩薩會衆의 圖像 = 38
• 3. 地藏菩薩과 地藏菩薩會衆 = 41
• (1) 地藏菩薩의 圖像 = 41
• (2) 地藏菩薩會衆의 圖像 = 42
• Ⅳ. 三藏菩薩圖의 形式 = 44
• 1. 형태에 따른 形式分類 = 44
• 2. 內容에 따른 形式分類 = 45
• 3. 構圖에 따른 形式分類 = 47
• Ⅴ. 三藏菩薩圖의 樣式 = 54
• 1. 時代的 樣式 = 54
• (1) 中國 水陸畵의 樣式 = 54
• (2) 朝鮮時代 三藏菩薩圖의 時代的 樣式 = 55
• 1) 1期(16세기 중엽∼17세기 말까지) = 56
• 2) 2期(18세기 초∼19세기 중엽) = 58
• 3) 3期(19세기 중엽∼20세기 초) = 61
• Ⅵ. 三藏菩薩圖의 特徵과 意義 = 64
• Ⅶ. 結言 = 68
• 【參考文獻】 = 71