조선왕조시대 석가탄생도상 연구-이미지

국문 초록 (Abstract)

연구자 정우택이가 '조선왕조시대 석가탄생도상 연구'를 위해 제공한 석가탄생도 이미지 자료이다.

다국어 초록 (Multilingual Abstract)

Seokgapalsangdo(釋迦八相圖), the condensed description of the Buddha's life into eight scenes is the sole Buddhist iconography that has been cherished regardless of time, religion, a nation and a people seemingly due to the monotheistic character of Buddhism. Therefore, it is presumed that Seokgapalsangdo was produced during the Goryeo dynasty in Korea but the oldest one remained is the Seokbosangjeol (釋譜祥節) print in metal type in the early Joseon dynasty. Under this circumstance, one painting of the Buddha at Birth possibly dated to the early Joseon period has been recently open to the public and drawn a great attention.
The painting of the Buddha at Birth in Hongakuji(本岳寺) shows a little difference in the number of persons and the display of motifs. But, the basic composition and essence of its iconography is the same as one of the Seokbosangjeol's prints of the eight scenes from the Buddha's life, which describes the birth of the Buddha called Biramgangsaengsang(毘藍降生相). With these identical aspects it is safe to say that the Hongakuji's painting is based on the iconography of Wolincheongangjigok (月印千江之曲) which took the Seokbosangjeol print as an original text. Therefore, the painting in Hongakuji is the most important material to research how a sutra was pictorially reproduced at that time.
The dating of the Hongakuji's painting can be assumed to the early Joseon dynasty, more specifically, the latter part of the 15th century during the early period of the King Seongjong(成宗) because of the fact that it shows the pictorial characteristics of the time such as double coloring, the delineation of clouds, and the constituent elements of landscape as well as a historical event of the birth of the Crown Prince. Accordingly, the Hongakuji's Birth of the Buddha is a very unique and rare Buddhist painting of the early Joseon dynasty providing a model of Palace Style Buddhist paintings at that time.
There were some modifications on the iconography of the Buddha's birth from the Seokbosangjeol print. However, it was succeeded to the Buddhist paintings in colors like the Hongakuji's painting and to the 16th century's Daitokuji(大德寺)'s painting. Later, the iconography continued to the one in Kekouji(華光寺) dated to 1692, Yongmunsa(龍門寺) dated to 1709 and many other Buddhist paintings in the late Joseon dynasty. In addition, the Buddha's birth iconography was partly used in the paintings of "Biramgangsaengsang(毘藍降生相)" such as the Songgwangsa(松廣寺), Tongdosa(通度寺), Haeinsa(海印寺) when the eight scenes of the Buddha's life were actively painted after the 18th century. Needless to say, the Buddhist paintings of the late Joseon period must have chosen their iconography from the earlier paintings rather than referred to the Seokbosangjeol print directly. Through examining the process of iconographical succession and accommodation on these paintings the modifications of an identical iconography have been firmly grasped.
Lastly, after the Hongakuji's Birth of the Buddha was known to Japan, reproductions such as one in Komatzutera(小松寺), Honenji(法然寺), and Kaiganji(海岸寺) were profusely made in prints, prints in colors, or hand paintings spread in many regions for a considerably long period and cherished as a religious object of Buddhism. Making a woodblock print with a specific theme from the iconography of Buddhist paintings explicates a correspondent religious demand was extant.
There has been no other Buddhist iconography imported from Korea, China including eastern asia than the painting of the Buddha's birth in Hongakuji which was reproduced many times over broad areas in Japan. Therefore, it is the most valuable painting that proves the influence of Korean Buddhist paintings on the Buddhist paintings and rituals in Japan.

국문 초록 (Abstract)

목차는 실현체 파일명이다.

국문 초록 (Abstract)

1. 釋迦誕生圖, 비단에 채색, 145ㆍ0×109ㆍ5 福岡ㆍ本岳寺
2. 釋迦誕生圖, 福岡ㆍ本岳寺
3. 釋迦誕生圖(부분), 福岡ㆍ本岳寺
4. 『釋譜祥節』<비람강생상>목판화
5. 釋迦誕生圖(부분), 福岡ㆍ本岳寺
6. 三帝釋圖(부분), 1483년, 일본ㆍ永平寺
7. 五佛尊圖(부분), 1490년경, 일본ㆍ十輪寺
8. 釋迦誕生圖(부분), 福岡ㆍ本岳寺
9. 地藏十王圖(부분), 1562년, 일본ㆍ光明寺
10.釋迦誕生圖(부분), 福岡ㆍ本岳寺
11.阿彌陀三尊來迎圖(부분), 고려시대 14세기, 東京國立博物館
12.藥師12神將圖(부분), 1477년, 일본ㆍ개인
13.五佛尊圖(부분), 1490년경, 일본ㆍ十輪寺
14.釋迦誕生圖(부분), 福岡ㆍ本岳寺
15.春景山水圖, 傳安堅, 비단에 수묵, 15세기, 35ㆍ8×28ㆍ5, 國立中央博物館
16.釋迦誕生圖(부분), 福岡ㆍ本岳寺
17.서울 남대문, 1398년 初創
18.쌍림열반상, 비단에 채색, 1569년, 215ㆍ8×128ㆍ4, 일본ㆍ千光寺
19.석가팔상도, 비단에 채색, 16세기, 348ㆍ0×162ㆍ5, 일본ㆍ大德寺
20.석가팔상도, 비단에 채색, 1535년, 372ㆍ8×175ㆍ7, 일본ㆍ金剛峯寺
21.석가팔상도-비람강생상, 비단에 채색, 1692년, 89ㆍ5×186ㆍ9, 일본ㆍ華光寺
22.석가팔상도-비람강생상(부분), 일본ㆍ華光寺
23.석가팔상도-비람강생상, 비단에 채색, 1709년, 223ㆍ0×98ㆍ0, 예천ㆍ용문사
24.석가팔상도-비람강생상(부분), 비단에 채색, 합천ㆍ해인사
25.釋迦誕生圖, 목판 종이에 채색, 左近貞綱筆, 83ㆍ9×74ㆍ8 일본ㆍ小松寺
26.釋迦誕生圖, 목판 종이에 채색, 1837년, 89ㆍ8×73ㆍ2 일본ㆍ法然寺
27.釋迦誕生圖, 목판 종이, 笑月 原畵, 92ㆍ8×75ㆍ0 일본ㆍ實相寺
28.釋迦誕生圖, 비단에 채색, 1733년, 136ㆍ5×106ㆍ4 일본ㆍ海岸寺