동아시아 정토 판화의 세계－고판화박물관 소장품을 중심으로

다국어 초록 (Multilingual Abstract)

Woodblock printing, which began in China, was initially character-oriented as a way to convey the Buddha's words, but emerged as a powerful means of missionary work as prints were combined with illustrations in the letters. The illustrations in the book were collected in a single print and distributed in the form of a Buddhist painting, and they expressed the world of paradise in a mandala form, inducing Buddhists to do good away from evil and wish to be born in the world of heaven. Jeongto-related collections in Korea, China, Japan, Tibet, and Vietnam, which are owned by the Korean Antiquities Museum, can be classified into woodblocks, traditional woodblocks, Buddhist paintings, and folk prints. Amitabha Sutra, which developed the appearance of Jeongto(Pure Land) in the form of illustrations in books, Gwanmuryangsu gyeong(Sutra of the Meditation on the Buddha of Immeasurable Life), and Muryangsu gyeong(Sutra of Immeasurable Life) were reprinted and published in Korea and Japan, and in Japan, Jeongto Sambu Sutra(Three principal texts of the pure land tradition) was developed in its own form as a Mandara-style Buddhist painting. In Japan, where Jeongto Buddhism was developed, various Jeongto Buddhist prints were distributed as a tool for worship and edification as an etoki to explain doctrines through paintings, and in China, it has been used in various forms of jijeon(paper money) and talisman used in rituals to preach ancestors. Through this, we need to find a way to use ancient prints as a new means of Buddhist missionary work, and furthermore, we need to realize that collecting and utilizing ancient prints from East Asian countries can be a major means of research and development in depth. Furthermore, for the study of Buddhist painting, it is necessary to open a new horizon for Buddhist society companies by comparing and analyzing hand-drawn Buddhist paintings in East Asia with those taken with prints.

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