선묘불화의 제작인식과 특징 = Purpose of Production and Characteristics of Buddhist Painting in Line Drawing

다국어 초록 (Multilingual Abstract)

A study on the concept of Buddhist painting in line drawing and its purpose of production is an important starting point of understanding its meanings. A line drawing means a drawing consists of lines, and the Buddhist painting is a drawing based on the religious characteristics of Buddhism. Therefore, the buddhist painting in line drawing is a painting produced by the line drawing skills to describe Buddhism. In terms of visual expression, Buddhist painting in line drawing is different from colored buddhist painting which uses various colors. It is an important characteristics to distinguish the lines and colours to understand Buddhist painting in line drawing. When looking at the existing samples, Buddhist painting in line drawing seems to had been continuously produced from Koryo Dynasty to Joseon Dynasty. The 16th century in Joseon Dynasty was the period the concept of Buddhist painting in line drawing was defined and produced a lot. It is found in Hwagi(畵記) and other literature materials that a Buddhist painting in line drawing produced at that time was focusing on introducing the purpose of production with new words 'Gold Lined-drawing painting', indicating Buddhist painting in line drawing with gold.
<Amitabha Triad Painting> owned by a private temple in Japan in 1359, Goryo Dynasty, is the most important sample to understand the trends and the producing period of Buddhist painting in line drawing. Until the <Amitabha Triad Painting> was found, Buddhist painting in line drawing was studied based on its relationship with the small Frontispiece Painting, but now there are more grounds to decide the purpose of producing the paintings. Moreover, thanks to the <Amitabha Triad Painting>, the difference between Buddhist painting in line drawing and colored painting became clearer. The painting is rated to be important for understanding the characteristics of Buddhist painting in line drawing. After that, in 1532, <Amitabha with the Eight Great Bohisattvas Painting> in Enracuchi(延曆寺), Japan, is a pioneering painting of Buddhist painting in line drawing in 16th century in Joseon Dynasty. It has enough representative characteristics to be regarded as an example of Buddhist painting in line drawing at that time. Amitabha with the Eight Great Bohisattvas Painting is receiving attention as an important painting that contributed to the continuous production until the late 16th century, inheriting the Goryo traditions. The various painting techniques in the late Joseon Dynasty not only accepted the previous styles but also tried changes continuously. <Vairocana Sermon Painting> in Bogyeong Temple(寶鏡寺) in Pohang in 1742 and <Amitabha Sermon Painting> in Donguk University Museum in 1759 represent the tendency to fill space with lines rather than colors as a succession of previous Buddhist painting in line drawing. Around that time, more and more Buddhist painting in line drawing was produced focusing on the contour lines. Instead of lines, more and more painting used color in some motives, broadening its range as a new painting technique such as <Amitabha Sermon Painting> in Yonghwa Temple(龍華寺) which used colors in one whole figure. In addition, the figures of Buddhist painting in line drawing was focusing on Sukkayeorae and Amitabha, some are suggesting that small-sized Avalokitesvara Bodhisattva paintings were produced to be a type of 'Wonbul(願佛)' in late Joseon Dynasty showing the various purposes of producing Buddhist painting in line drawing.

목차 (Table of Contents)

• 1. 머리말
• 2. 선묘불화의 개념과 제작배경
• 3. 인식의 변화 : 선묘불화의 흐름과 특징
• 4. 맺음말
• 참고문헌
• Abstract