조선후기 목조 불패와 동국대박물관 특별전시회 출품작 고찰 = Study On Late Joseon Buddhist Wooden Tablet and Special Exhibition held by Dongguk University Museum

다국어 초록 (Multilingual Abstract)

Buddhist wooden tablet is a wooden form tablet that is used for rituals in buddhist temple or to make Buddhist alter more grandeur. In Buddhism, Buddhist wooden tablet is ritual tool that symbolizes characters such as Buddha and Bodhisattva. It is also being considered as a medium through which the Buddhist could meet Buddha. It is considered that this form of Buddhist wooden tablet was produced in Korea since the 15th century. According to Buddhism engravings made in the 15th century, such as Worin seokbo ( Episodes from the Life of Sakyamuni Buddha ) 『 月印釋譜 』, This Buddhist dharani spread out and diffused due to its easy teaching 『 佛頂心陀羅尼經 』 etc.. started to illustrated icons of Buddhist wooden tablet. Buddhist wooden tablet located in Anseong Chiljangsa Temple is the only Buddhist wooden tablet made in the early Joseon period. This tablet was confirmed to be produced in year 1557 and used as The Three Palace Plaques ‘ 三殿牌 ’. The most active period for the production of Buddhist wooden tablet is after the 17th century, the latter part of the Joseon Dynasty. This is because of the loss of Buddhist temples in the late 16th century due to war such as Japanese invasion of Korea in 1592. With the loss of Temple, wooden tablets were also being destroyed, which increased the demand of the tablet after the war is over. Moreover, Buddhist rituals, such as Suryukjae ( Land and Water Rite ) was centered around Buddhist temples. According to Chunjimyeongyang suryukjaeuibumsanbojip (天 地冥陽水陸齋儀梵音刪補集) written by Buddhist Jihwan from late 17th century to early 18th century, in order to perform ritual, such as junpae eun (殿牌移運) , Buddhist wooden tablet must be equipped as ritual instrument. In the late Joseon period, use of Buddhist wooden tablet was divided largely into two. plaque that pray for longevity and prayers for the loyal family and The Three Palace Plaques that used in a buddhist worship. The plaque was generally set up in a set of three, and it was encircled on altar. In the majesty pattern, dragon and phoenix symbolizing the royal authority were expressed together with clouds, lotus, and peony. On the other hand, The Three Palace Plaques is not clear in its quantity to be sealed in altar, and its majesty pattern is characterized by its religious color, such as full-length, top, lotus flower, chrysanthemum flower and bead. Analysis of the work that can identify the precise time of production by leaving a prestigious seal on the bottom of the tablet or the back of the tablet in the late Joseon period. from early 17th century to early 18th century, head, body and bottom of Wooden tablets were beautifully, splendidly, and magnificently designed in small to medium size. However, after mid 18th century, tablet s structure and form were simplified and the size of the tablet became smaller. Separately, 1 to 2 meter wooden tablets were made temporarily to be enclosed in a large Buddha statue from 4 to 6 meters long from the first half of the 17th century to the second half of the 17th century. Buddhist wooden tablets were made with other wooden pieces, such as statue of Buddha and Bodhisattva, altar, and platoon, and interestingly, buddhist monk sculptures, who easily handle the trees, participated in the work. All four pieces of the exhibition which were exhibited at the Dongguk University Museum Special Exhibition show no typical record of production, but it shows the typical form of the Buddhist wooden tablets produced in the late Joseon Dynasty. Among the exhibits, Dongguk University Museum s 3 collections, tablet s body and head were used in the majestic pattern and the phrases described in the work shows that they were plaque. The other two were made before 18th century mid size tablets and large size tablet that only head and body were remained is considered to be made between the middle of 17th century to late 17th century. On the other hand, tablet collection of Chentae ( Ti

목차 (Table of Contents)

• Ⅰ. 머리말 Ⅱ. 조선후기 불패에 대한 형식 Ⅲ. 조선후기 불패의 제작 배경과 양식적 특징 Ⅳ. 동국대박물관 특별전시회 출품작 현상 분석 Ⅴ. 맺음말