高麗佛畵의 華嚴思想性硏究 = AvataMska thoughts of the Koryo buddhist painting

다국어 초록 (Multilingual Abstract)

Koryo Buddhist Paintings, although some 133 or more pieces available now, need serious turnover toward scholastic and scientific research in terms of Buddhist art which had been operated not by buddhist oriented thoughts, but by artistic and af historical approach.
Buddhist paintings are created, actually made by skilful artisans following the interpretations and instructions of the buddhist monks, mostly the leader of the buddhist monastry and/or temples. It signifies that all the contents and forms, that is, the theme, doctrine, sign & symbol, anecdote and tales of the paintings are dominated by buddhist scriptures and the interpretations on the basis of so called Buddhism. Therefore, deep consideration should be concentrated to the buddhist af in terms of buddhist art itself.
At first analysis, It is clear that the paintings that has been classified in several categories based on common senses, i.e., a cetrain knowledge of sutras, appearing buddhas, boddhisattvas, and of kins and disciples on the painting, that is to say, in a superficial way, is far from serious approach to the Koryo buddhist paintings.
The 4 categories used to be made in Koryo buddhist paintings, specifically 133 pieces which published in the book named "Buddhist paintings In the Koryo period" published by Sikong-sa co., 1997 which encompass almost all the Koryo buddhist paintings.
The 110 pieces are, rebirth in the sukhaavatii(pureland) of amitabha buddha(including amitabha, pureland, avalokite$vara, kStigarbha, maitreya buddha and/or boddhisattva) 14 pieces: of buddha and the disciples(including rohan, shakamuni, nirvana) 6 pieces: avataMska thought(viracana, sutra drawing, bhai$aijyaguru-vaiDuurya and the Guardian Gods) 3 pieces: tantric/esotreic buddhism(mariici, ursa major buddha)
According to the classification, the most common find paintings are amitabha buddha and the family who supposed to embrace the soul of the dead, and the thought of rebirth in the pureland of sukhaavatii ruled by amitabha buddha. The amitabha buddha is main character in the context of the sukhavatijvyuuha, therefore sulthaavatii thoughts supposed to be given top priority in the Koryo Buddhist paintings.
But for the scripture usually jotted down at the comers of the paintings, the assumption that the amitabha thoughts dominate the Koryo buddhist paintings, seems to be rational approach. However, by means of close study of the scriptures, thoughts and cultural background, for instance an amitabha buddha painting from Shimatsu family collection in Japan, the phrase proves to be come from avataMska thought, namely bohyunhangwonpum in Korean term, that is, samanthabadra boddhisattva's relief and practice in the constext of avataMska suitra.
The fact that the main idea of the amitabha pureland stems from avataMska thought is well explained under the phrase in the bohyunhangwonpum that,
"At the time when my life meets an end, I am anxious to gain a rebirth in the pureland of amitabha, facing the amitabha buddha after terminating every hindrances in my life.
And as soon as my rebirth is made, I would fulfill all my last prayer throughly and faithfully. I also pray for bestow joy and benefit to the whole living things and the dead."
At second analysis, we might have to notice that, in studying Koryo buddhist paintings, second to none important factors might be found by realizing the generousity of the avataMska thought. In the Koryo buddhist paintings, it is not very difficult to find various kinds of traditional icons far from buddhist doctrines. The first icons found are such as the symbols of Sun, Moon, and the Stars. Second icons are holy guardians such as phoenix and dragon. Third icons are the motives of 10 immortals from Minhwa(Korean traditional falk paintings) in the shape of pattern drawing.
For instance, in the paintings, the Sun icons are founded in two types. First of all, in a traditional way such as three-legged crow(三足烏). Secondly, in a traditional and avataMska way, such as 卍(svastika)-chinese character both signifies the Sun in a traditional way, and vairocana buddha and the kins in a avataMska sutra.
We can find the 卍 character in Koryo buddhist paintings, such as avataMska painting of Boston museum collection, Virocana trinity, that is vairocana, manjusri and samanthabadra boddhisattva painting of the Kohln museum collection, and many other paintings.
It has been argued that the icons of the Sun has been shared in the ancient civilization leaving an evidence of the Sun worship. The vairocana, almighty buddha in avataMska Sutra, has been regarded as similar deity as Sun God in the Orient and Korean Myths.
The juxtapositial layout of the two contradictory symbols of the Sun simultaneously in a Koryo buddhist painting well explain the generousity of buddhism, specifically that of avataMska thought, because the virocana acts as a reincarnation by means of context of shakamuni buddha's sermon in the avataMska sutra.
In the paintings, evidences are found that the avataMska thought accept not only the Sun worship, but also an ancestor cult and the pureland of amitabha buddha.
Ancestor cult can be related to padma-gharba-loka-dhaatu which supposed to be ruled by amitabha buddha and kSitigarbha boddhisattva. The spirit of the dead thought to be sent one of the world after death. One is sukaavatii heaven of amitabha buddha, the other is narak the hell ruled by kStigarbha boddhisattva.
As well as amitabha paintings, that is amitabha trinity, amitabha and 8 boddhisattva, and pureland of amitabha, so the kStigarbha paintings, that is kStigarbha and kStigarbha with 10 kings of the hell are related to avataMska thought by means of bohyunhangwonpum sutra.
In third analysis, an evidence of the avataMska thought in the Koryo buddhist paintings are left in the paintings of avalokite$vara-kwanin or kwanum boddhisattva. The avalokite$vara bodhisattva appears both avataMska sutra and lotus sutra. However, almost all of the avalokite$vara in the Koryo buddhist paintings accompanying Sunjai the pilgrim boy, who made pilgrimage to 53 kalyaaNGamitra in the last chapter of 80 avataMska sutra.
Apart from the sunjai the boy, there appeared twin bamboos in some of the avalokite$vara paintings. The notable twin bamboos represent the avalokite$vara's oracle to be given to Uisang, the great avataMska monk in the unified shilla dynasty that to build a avalokite$vara temple where twin bamboos grown.
In semi-conclusion, as far as the theme and thoughts are concerned, it is clear that almost all of the Koryb buddhist paintings, are surely stem from the avataMska thought, however, the most important factors in the Koryo buddhist paintings are the foundation of the avataMska philosophy came from unified Silla, and the most significant symbolic features of the philosophy of unified Silla is well represented in the Odae-san thought.
Odae-san consists of five sacred mountains with so called vajradhatu mandala in both China and Korea. The main theme of the Odae-san thoughts are strictly reflected the unified Silla Buddhism, dominated by avataMska thoughts.
In China, the Odae-san had been known to be quoted from avataMska sutra. In Korea, Chajang the great monk of Silla dynasty imported the Chinese Odaesan philosophy and cultivated in a Silla way. And Bochun the prince of Silla Dynasty systemized the philosophy to a solid and everlasting foundation. Under the background, the most influential monk was Ui-sang, the founder of Silla avtaMska beliefs.
The philosophy of matching five mountain peaks to five buddhas came from mahayana sutras including avataMska sutra, and succeeded to vajradhatu mandala, and finally to Koryo buddhist paintings, That is, the five buddhas and boddhisattvas are supposed to be reside in the five mountains. diagram follows.
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The most significant aspect of the five buddha/bodhisattva diagrams in the Odae-san philosopgy is that the five dominant buddha/bodhisattvas are found in the Koryo buddhist painting in a similar way. That is, Koryo buddhist paintings reflect beliefs of the peoples of Koryo dynasty who succeeded the belief and thought pattern of Silla dynasty buddhistic thoughts.
And the basis of the belief in the Odae-san and Koryo buddhist paintings are avataMska thoughts, which have been dominant and powerful both in buddhist philosophy and laymen.
In conclusion, in order to scruntize Koryo buddhist paintings, the most important key is to the avataMska thought of Korea buddhism which have been a most influential and powerful philosophy since the philosophy had been established in the Unified-Silla dynasty.
In addition, the Koryo buddhist paintings should face some more scholastic and scientific research by means of advanced technology, and communication methods such as multi-media, world-wide-web and the like, in terms of systematic organization of exhibitions and publications.

목차 (Table of Contents)

• 목차
• 緖言 = 1
• Ⅰ. 현존 고려불화의 개관 = 4
• 1. 範疇와 경전적 해석 = 5
• 2. 양식과 사상성 = 17
• Ⅱ. 고려불화와 화엄신앙 = 25
• 1. 불화와 經卷신앙 = 27
• 2. 토속신앙과 화엄세계 = 35
• Ⅲ. 彌陀淨土畵와 화엄사상 = 44
• 1. 普賢行願品과 阿彌陀如來圖 = 46
• 2. 普賢善薩行願贊과 八大善薩圖 = 52
• Ⅳ. 고려불화의 화엄사상과 밀교의 교섭 = 59
• 1. 華嚴神衆의 曼茶羅的 再構成 = 61
• 2. 五方佛思想의 신라적 원형 = 67
• Ⅴ. 五臺山 화엄사상의 고려불화적 전개 = 72
• 1. 文殊信仰의 初期密敎的 변용 = 74
• 2. 화엄과 金剛界 曼茶羅의 互換性 = 85
• 結語 = 92
• abstract = 17