興天寺 소장 歸眞寺刊 『大方廣佛華嚴經疏』 變相圖

Abstract

This dissertation is about the study on the Annotation of Avatamasaka Sutra, an Illustration of Sutra referred to as Deabanggwangbul hwaeongyeongso, which was initially created at Gwijin-sa Temple and is now housed at Heungcheon-sa Temple. The Annotation of Avatamsaka Sutra of Heuncheon-sa Temple is significant that it shows the origin style of the Illustration of Sutra that was introduced during the Joseon era with a number of distinctive features. First, it can be inferred from the Volume No. 6(June, 1556), No. 10(July 1557), No. 14(July, 1557), No. 38(July, 1560), No. 47(July, 1561), No. 50(August, 1561), No. 85(May, 1561), No. 96(July, 1562), No. 120(Spring, 1564) of the Annotation of Avatamsaka Sutra created at Gwijin-sa Temple in Seoheung, Hwanghaedo province that the production the Annotation of Avatamsaka Sutra took eight years to complete from June 1556 to spring of 1564 and that it was produced in order from Volume No.1 to No. 120 except No. 85. Second, the publication of the Annotation of Avatamsaka Sutra of Gwijin-sa Temple was led by Bowoo, the chief of Seon Buddhism who was the head monk of Bongeun-sa Temple and Cheonchik, the chief of Gyo Buddhism who was the head monk of Bongseon-sa Temple. The records about the publications tell the names of the offerers of prayers and numerous carvers who engraved the sutra script including Gak-in, Neunghye, Daeui, Doseong, Byeok-am, Suyeon, Seungwoon, Shinyeon, Shinhye, Shinhee, Uitong, Ilseom, Il-am, Iljin, Jeonghwan, Joyeon, Joyun, Jiyeon, Jiwoo, Cheonwoong, Chukryeong, Hakryeong, Hyeneung, Hyeyeon, Hyejeong Heeshin. Unfortunately, the initial version and the names of the carvers who produced the Illustration of Sutra were not recorded, making it unable to assume the original version of the Illustration of Avatamsaka Sutra. Third, after the eighty-year-long creation of the Annotation of Avatamsaka Sutra at Gwijin-sa Temple, Byeok-am Gakseong reproduced the Annotation of Avatamsaka Sutra as a prayer over two years from February 1634, following the Gwijin-sa version. The script consists of six lines and fifteen letters, it stayed true to the style of the Gwijin-sa version. However, the slight differences in the detailed expression of the sutra plaque and the light of Buddha, cloud patterns, the pedestal of Virocana, the Bodhi tree and the light of Buddha as well as the plaque with the letters of prayers engraved. It is perceived that the individual styles of the carvers and the trends in the manner of expression at that time were manifested based on the full understanding of the Gwijin-sa version. Last, this dissertation attempts to consider the iconography of Kegon Kaie Shoshoju Mandara(Deities of the Flower Omament Ocean Assembly), an early work of Kamakura period, which is now housed in Kozan-ji Temple in Gyoto, Japan and the Illustration of Sutra Sejumyoeumpum as the original version for the Illustration of Sutra of the Annotation of Avatamsaka Sutra produced at Gwijin-sa Temple. However, the differences in materials used and the compositions make it difficult to determine the two as the original versions for the Gwijin-sa version. Hence, whether the Gwijin-sa version was newly created based on the two works or took other works as its original script to follow is unidentifiable. Though, the Illustration of Sutra in the Annotation of Avatamsaka Sutra produced at Gwijin-sa Temple is significant in Art history aspect as its iconography is a newly introduced style in the 16th century.