無爲寺壁畵白衣觀音考 - 畵記와 墨書偈讚을 중심으로 -

다국어 초록 (Multilingual Abstract)

One of the most representative temple frescos which exist in Korea is the fresco in Muwee temple in Kangjin, Chullanam-do.
In it, the white-clothes Kwaneum at the rear fresco is different from the figure of the ordinary Suweol Kwaneum; what is interesting at the right-upper part of it is that You, Jaryang(Koreyo Dynasty, 1150～1229)'s praise for the Naksan Kwan-eum was written a little differently from the poetry in the Dongmunseon or Sinjung-Donggguk yeojyseungram. In the past, this letter has been interpreted differently according to the interpreter with some errors in writing, and the apprehension of the drawing has not been enough as well. The fresco, recognized to be created in 1430, was made by three people two of whom were at the position of the seon master, according to the precise analysis of the record of art history.
They are recognized as artists, Haeyeun and Seonyee who did their best in the reconstruction of the Muwee temple which preceded under the support of the royal family and upper class.
A new study is needed for the two artists, who were the great seon masters. Next, in the composition, the Suweol Kwaneum, which was based on the section of the 'entering the dharma world' in Hwaum sutra and 'wide listening' in Lotus sutra was widespread around 10th century, depending on the resources in Donhwang; the composition of the white-clothes Kwan-eum in the fresco in Muwee temple is not significantly different from
the ordinary Suweol Kwaneum, but quite different from the characteristics of the Koryeo composition which places the twin bamboo in the dark cave. Instead of the apparence of Seonjae, who is the subject of the 'entering the dharma world,' the old bhiku is placed, presenting the Ven. Euysang's tale of 'naksan Kwaneum.' In addition, the poetry of You, Jaryang(Koreyo Dynasty) which was written at the right side of the fresco provided with much help in understanding of the composition.
However, the difference between the praising poetry at the fresco and the record in Sinjung-Donggguk yeojyseungram. is only given the explanations of the context regarding the truth or falsehood about the poetry, it was hard to ascertain, only giving more weight on the fresco. It seems to be the unique characteristic of the fresco that the apparence of the old bhiku with folded hands is compared to Ven. Euysang. Since the old bhiku here is to present Ven. Euysang's meetimg with Naksan Kwaneum, the fresco is a new model for the Korean Suweol Kwaneum, quite different from the ordinary Suweol Kwaneum, so its meaning is of significant importance.

목차 (Table of Contents)

• Ⅰ. 前言
• Ⅱ. 無爲寺의 事蹟과 墨書
• Ⅲ. 白衣觀音의 圖像과 偈讚問題
• Ⅳ. 結語
• 도판목록
• ABSTRACT
• 논평