쌍계사 감로도(1728년)의 특징과 의미

Abstract

Gamrodo, Nectar Ritual Painting is hung as a Buddhist painting at the lower alter of the Daeungjeon(the main hall) of Ssanggyesa Temple. Since Gamrodo is enshrined in Daeungjeon and is the subject of worship at this time, it has been naturally regarded as a discord in Daeungjeon. I studied the original Places of Worship Enshrining of Gamrodo, starting from the point that the painting record(畫記) of Gamrodo were not recorded. Accordingly, Gamrodo was enshrined in the present Palsangjeon after the same process as Ssanggyesa Palsangdo, Painting of the Eight Great Events in 1728. Since the iconographic characteristics for Gamrodo have been well elucidated in previous studies, this thesis mainly deals with the iconography of upper alter and the religious background. Accordingly, Gamrodo takes the typical image of Gamrodo in the 18th century, but the Buddha and Bodhisattva at the top occupies a large part in the picture, and the relief of the soul is emphasized, such as the InRoWang Bodhisattva(引路王菩薩) and Byeokryeondae(碧蓮臺). In this religious background, Ssanggyesa shows the influence of the Hyenhangseobanggyeong(現行西方经), published in 1710. This publication, which describes in detail the ritual ritual for reincarnation in the Pure Land of Paradise, is not directly related to the background of Gamrodo, but it is noteworthy in that it shows an aspect of the religious trend in Ssanggyesa Temple in the 18th century. The lower section illustrates more detailed scenes of the water-land ritual. The monk painter, who supervised the production of Gamrodo, was a Buddhist monk, and since it was confirmed only in Palsangdo and Gamrodo at Ssanggyesa Temple in 1728, it is presumed that he was a monk belonging to Ssanggyesa Temple. Gamrodo, created under the leadership of Myeongjeong, shows outstanding stylistic characteristics in fine brushstrokes, stable screen composition, and bright and vivid colors, and represents Gamrodo in the first half of the 18th century.