泉隱寺 阿彌陀極樂會圖 硏究 = A study about Amitabha Buddha assembly in paradise painting in Cheoneun-sa
저자
발행사항
서울: 동국대학교, 2011
학위논문사항
학위논문(석사)-- 동국대학교 대학원: 미술학과 2011. 8
발행연도
2011
작성언어
한국어
주제어
발행국(도시)
서울
형태사항
II, 114장: 삽도; 26cm.
일반주기명
동국대학교 논문은 저작권에 의해 보호받습니다.
지도교수:김창균
DOI식별코드
소장기관
<Amitabha Buddha assembly in paradise painting> in Cheoneun-sa was made to enshrine at Geukrakbojeon and its iiconography, composition, and color are distinguished. This is a very valuable Buddhist painting made by Shinamhwaryun of the Uigyeom school that acted around Jeollado in the second half of the 18th century. The study methods and procedures are as follows.
First of all, history of Cheoneun-sa which is background of making Amitabha Buddha assembly in paradise painting in Cheoneun-sa was reviewed and through analysis of painting record, givers and painters participated in making the painting then were explored. And background of then times, main scriptures of Amitabha Buddha including 『Jeongto Sambu Gyeong淨土三部經』were examined. In chapter Ⅲ, iconography of Amitabha Buddha assembly in paradise painting in Cheoneun-sa was classified into Buddha, boddhisattva, and other figures to analyze the characteristics. In chapter Ⅳ, style of Amitabha Buddha assembly in paradise painting in Cheoneun-sa was classified into composition, characteristics of figures, color, pattern, and line and then, this studytried to know characteristics of Amitabha Buddha assembly in paradise painting by reviewing and comparing with other Buddhist paintings. In chapter Ⅴ, his painting style was explored through extant works of Shinamhwaryun who made Amitabha Buddha assembly in paradise painting in Cheoneun-sa. And the characteristics in painting style were compared with ones of contemporary painters who acted near Shinamhwaryun and by analyzing works of painters who participated in making Buddhist paintings together with Shinamhwaryun, this study discussed about his lineage. In chapter Ⅵ through the importance of characteristics in iconography and style of Amitabha Buddha assembly in paradise painting in Cheoneun-sa, this study tried to shed light on its meaning in Buddhist painting history from the vie of Buddhist painting history.
The findings of this study are as follows. First, as a result of analysis of painting records of Amitabha Buddha assembly in paradise painting in Cheoneun-sa, givers for Buddhist painting were not only the general public but also monks. Thus, various members of giver indicate social conditions of Buddhism in Chosun dynasty. Belief of Amitabha was widely spread not only in Goryeo but also in the first half of Chosun. This phenomenon is an example for the fact that Belief of Amitabha, by the character of pursuing merit in this world and aiming at salvatio in next world, can coexist with Confucianism which was governing ideology then. Second, Amitabha Buddha assembly in paradise painting in Cheoneun-sa not only shows when it made and has clear painting record but also there are clear inscriptions on Amitabha Buddha, eight boddhisattvas, and the Four Devas. So This is evaluated as an outstanding work which provides important material for study of Amitabha Buddha paintings. Description of figure name in Amitabha Buddha assembly in paradise painting in Cheoneun-sa is very important clue in figuring out names of figures drawn in Buddhist paintings made in Chosun. Especially, differently from interpretation of an figure where Heaven King holds precious pagoda to Bukbang Damuncheon, the figure with precious pagoda was recorded as Seobang Gwangmokcheon, which stirred many controversies. But in the figure of the Four Devas in Songgwang-sa where example of layout of the Four Devas, and inscription identical with Cheoneun-sa painting are extant, it is identified that Heaven King holding precious pagoda is Seobang Gwangmokcheon King. By this reson, Amitabha Buddha assembly in paradise painting in Cheoneun-sa is highly evaluated as a most basic material for study of iconography for the Four Devas in Chosun. As a result, it is proved that same direction concept was used not only for Buddhist painting but also for sculpture in the second half of Chosun. Third, It is meaningful that Amitabha Buddha assembly in paradise painting in Cheoneun-sa is a very important work in studying painting style of the head painter, Shinamhwaryun. He acted in Gokseong, Gurye area and his extant works show same composition and similar Traditional Ink Color Painting Technique with Uigyeom school. Through these facts, he seemed to belong to Saekmin line of Uigyeom school and had a close relationship with Bihyun or Pyungsam. His extant works are a few but comparatively large works are many. In the style, there are many which can be a standard in then age. And kind of works is varied from Amitabha Buddha assembly in paradise painting to Gamnowang painting so that all examples of upper, middle, and bottom paintings are shown in his painting. And it was identified that he does not stay behind 'Bihyun' who acted as a representative painter in Jeollado in the middle and second half of the 18th century in its importance. He was a representative painter who led then painting circle centered on Cheoneun-sa and Taean-sa in Gokseong, Gurye area. Therefore, it would be necessary to newly evaluate him in the Buddhist painting circle.
As shown in above, Amitabha Buddha assembly in paradise painting in Cheoneun-sa has a large meaning in the aspects of religion, society, and painting arts in that it was enshrined at Geukrak bojeon of Cheoneun-sa which claimed to advocate Amitabha temple under then social and religious background; it includes characteristics of Buddhist paintings of the 18th century and at the same time, it shows style of the second half of Chosun when schematization was not still established; by the records of names for important iconography, it could be a standard for analysis on iconography of Buddhist paintings in Chosun. It is expected that this study can be helpful for other researchers to understand Amitabha Buddha assembly in paradise painting.
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