朝鮮時代 神衆圖 硏究

다국어 초록 (Multilingual Abstract)

This paper examines the paintings of Buddhist Guardian Deities which depict various Buddhist deities as a collective group.
Paintings representing individual deities such as Indra (帝釋天), Skanda (韋駄天), Four Heavenly Kings (四天王) are excluded from consideration in this study. In addition, the paintings examined in this paper range in date from the late Joseon Dynasty to the Japanese occupation period.
In the early times of Buddhism, the Buddhist guardian deities were originally folk deities widely worshipped for their power. But later they took an additional role of advocating Buddhism.
After Buddhism spread to Central Asia, the Four Heavenly
Kings, one of the most representative Buddhist guardian deities, were recharacterized by adapting to local beliefs. As a result, they were emphasized as patriotic deities protecting the king and country and represented as armed figures in sculptures and paintings.
One of the representative beliefs of Buddhist guardian deities in China is Twenty Protective Deities (二十h天) established by Tiantai School in Southern Song Dynasty which later became a part of Water-Land ritual (水陸儀禮). On the other hand, unlike China, belief in Buddhist guardian deities in Korea was established around Hwaeom Thought (華嚴敎學).
There were three reasons behind the establishment of Buddhist Guardian Deities paintings in Korea. The first is the belief in Buddhist guardian deities by Byeogam and his disciples (碧巖門徒) who were leading the 18th century Buddhist society.
The prevalence of Hwaeom teachings and the formation Yeombulmoon (念佛門) which started from Seongchong (性聰) combined with the belief in Buddhist guardian deities led to the production of the paintings.
The second is the organization of Buddhist guardian
deities ritual practice. A ritual text, published in the middle of
the 18th century, contained daily reverence for Buddhist guardian deities which in turn influenced images of Buddhist guardian deities to become an essential component in adorning Buddhist halls. The third is the influence of Water-Land ritual. Paintings of Buddhist Guardian Deities were enshrined on the altar of Buddhist guardian deities (神衆壇) which is similar to the altar of
protection (擁護壇) from the Water-Land ritual.
In addition to the deities that appear in ritual texts, the
iconography of deities were expanded by adopting Chinese
immortals ( 神仙) such as Yeodongbin (呂洞賓), Jongnigwon (鍾離 權), Icheolgoe (李鐵拐) and gatekeeper deities (門神) such as Wijing (魏徵), Uljigyeongdeok (尉遲敬德), Jinsukbo (陳叔寶).
Especially since the 18th century, the paintings were also
influenced by popular Daoist cult. The iconography of Imperial Sovereign Guansheng (關聖帝君) was borrowed and represented as the god of Kitchen (竈王神) in the paintings of Buddhist Guardian Deities.
Another interesting phenomenon regarding the paintings of
Buddhist Guardian Deities in Joseon Dynasty is the appropriation of print publications. For instance, the paintings borrowed images from the Jade Pivot Scripture (玉樞經), and also from the illustrations of the Romance of the Three Kingdoms (三國志演義) and Mansodanghwajeon (晩笑堂畫傳). From these evidence, this paper shows that images of warrior figures in the paintings were
appropriation from popular prints rather than creation by artists in accordance with the concept of Buddhist guardian deities.
In sum, the production and enshrinement of Buddhist Guardian Deities Paintings are unique feature of Korean Buddhist art in East Asia. Further, this paper demonstrated that these paintings from the late Joseon Dynasty were adaptable to new influences by actively embracing folk deities as well as images from print publications.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• 1. 연구목적 1
• 2. 연구 경향과 성과검토 4
• 3. 연구 내용과 방법 8
• Ⅱ. 신중신앙의 성립과 전개 13
• 1. 神衆의 개념 13
• 2. 신중신앙의 전개 20
• Ⅲ. 神衆圖의 성립배경 49
• 1. 碧巖門徒의 位相과 신중신앙 49
• 2. 常用儀禮의 정비와 神衆圖 奉安 68
• 3. 神衆壇의 성립 81
• 4. 신중 도상의 구성요소와 정착 106
• Ⅳ. 神衆圖 구성요소의 확산 130
• 1. 神仙의 수용 130
• 2. 門神의 수용 151
• 3. 關聖帝君 신앙의 수용 164
• Ⅴ. 板本類 도상의 차용 171
• 1. 『玉樞經』 神將 도상의 차용 171
• 2. 中國 小說 揷畵와 畵譜類 도상의 차용 196
• 3. 金陵刻經處 예적금강 도상의 수용 222
• Ⅵ. 神衆圖의 제작 양상 230
• 1. 丕賢 畵派의 신중도 제작 경향 230
• 2. 穢跡金剛 도상의 출현과 전개 256
• 3. 경기지역 신중도의 제작 동향 278
• Ⅶ. 맺음말 292
• 【參考文獻】 297
• 【表 目 錄】 319
• 【揷圖目錄】 321
• 【圖版目錄】 324
• 【 圖 版 】 338
• 【 附錄 1 】 402
• 【 附錄 2 】 427
• 【 附錄 3 】 430
• Abstract 431