道岬寺 觀世音菩薩三十二應幀의 圖像 硏究

다국어 초록 (Multilingual Abstract)

This thesis is about Thirty-two Responsive Manifestation of Avalokite?vara (觀世音三十二應幀) from Tokab-sa temple (道岬寺), which was painted by Yi Cha-sil (李自實) in 1550. The painting was commissioned by Queen Dowager of Kong-Ui (恭懿王大妃) to pray for the bliss of her dead husband, King In-long (仁宗). Originally this Buddhist painting was placed at the Golden Hall of Tokab-sa temple in Young Am, Chun-Nam, Korea: however, it is now located at Chion-in temple (知恩院), Japan. With its painted period, original location, and artist inscribed on the painting. this painting fully exemplifies the Buddhist painting of the early period of the Cho-son dynasty.
At the center of the upper part, there are two Buddhas with the group of the five Buddhas on both their right and left. Below these two Buddhas, Avalokitesvara is seated on the rock at the center. From the bottom part of the painting, there are the paitings of the thirty-two responsive manifested of Avalokitesvara (觀世音三十二應幀), based its form on the Chapter 25 of the Lotus sutra of the marvelous law of Buddha (觀世音菩薩普門品). Each painting present Avalokitesvara in thirty-two different forms saves mankind in various calamities. Furthermore, this Buddhist painting depicts the landscape with mountains, tress, rocks, and clouds. Through these elements of the landscape we can see the relationship between the Buddhist painting and secular painting of the early Choson period.
This Buddhist painting has been studied by Japanese scholar Kumakai Nobuo (態谷宣夫) and by Korean scholars including Hong Yoon-sik Song Eun-suk, and Im Young-hyo. And there have existed different opinions about the subject matter among these scholars regardless of its inscription, Thirty-two Responsive Manifestation of Avalokitesvara. Also, the artist Yi Cha-sil is not well known and the landscape elements of this Buddhist painting has not been fully explained.
Therefore, I have attempted to examine its artist, his basis of this Buddhist painting, and his creativity that reflected in this painting. As the result, I have confirmed that this Buddhist painting is produced as a prayer painting for the dead under the active patronage of Queen Moon-Jung (文定王后) in the 16th century. The Buddhist sutra, this painting had based, is the Lotus sutra of the marvelous law of Buddha. This sutra was published the most frequently at that period. Among many commentaries, this sutra is the one with annotations by Chinese, Kye-Hwan (戒環) at the Kaewomyon-sa temple (開元蓮寺) in Song dynasty. This version of sutra came to be very popular in Korea at that period while not being very much favored in China and Japan. For this reason, when this Buddhist painting was first introduced to Korea by Japanese, the Sutra that this painting had its origin did not receive proper attention.
Another problem in this painting is about the artist. Regardless of its inscribed name on the painting, the name of the artist Yi Cha-sil cannot be found in the list of the Court painters at the Choson dynasty. However, fortunately, Korean art historian Yi Dong-joo found this name at the list of successful candidates in the medical examination. With this fact, I have confirmed that Yi Cha-sil is the Choson court painter Yi Sang-choa (李上佐) had a close tie with the Choson court. He painted in the style of the famous court painter An Kyun (安堅) and many parts of this Buddhist painiting also show An Kyuns influence on the artist. With these facts, I have surmised such a conclusion. However. very few remains of the record and no related documents make the study even more difficult.
I have examined the characteristic traits of the painting. As I have understood this painting as the illustration of the Chapter 25 of the Lotus sutra of the marvelous law of Buddha, I have showed the examples of transformation of this Buddhist painting from India, China and Korea. Furthermore, I have attempted to compare the painting style of this painting with that of Ming Chinese woodblock print

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 제작배경
• Ⅲ. 所依經典
• Ⅳ. 圖像 분석과 양식적 특징
• Ⅴ. 산수 특징과 朝鮮 前期 山水畵와의 관계
• Ⅵ. 맺음말
• ABSTRACT