조선 후기 화엄칠처구회도(華嚴七處九會圖)의 양식 연구

Abstract

Chilcheoguhoedo Buddhist pictures of the Avatamsaka Sutra in Songgwangsa (1770),Seonamsa (1780), Ssanggyesa (1790), and Tongdosa (1811) in the late Joseon has remarkablecharacteristics in the Korean thought of Buddhism and Buddhist history. First, the "AvatamsakaSutra" occupies an ideological and religious value in the history of Buddhism not only in Chinabut also in Korea. The composition of the illustration of the Avatamsaka Sutra was effective inshaping the understanding and practice of its thoughts and beliefs. Chilcheoguhoedo Buddhistpictures of the Avatamsaka Sutra in Songgwangsa, Seonamsa, Ssanggyesa, and Tongdosa, whichwere composed in the late 18th and early 19th centuries, featured the accumulated characteristicsof iconography from the time of the Korean thought of the Avatamsaka Sutra to the late Joseon. In particular, the distribution and performance of "the Avatamsaka Sutra" in the late JoseonBuddhist world which was subject to oppression and alienation, also promoted the formation ofByeonsangdo. The Chilcheoguhoedo Buddhist pictures of the Avatamsaka Sutra, shaped at thetime, have distinctive characteristics in composition, form, color, Brushstrokes and patterns compared with those of the previous period. In Chilcheoguhoedo of three temples in the 18thcentury, by adopting the traditional coloring technique in the form of a round and slender figure,while the color that gives a soft feeling shows the stylistic characteristic of the previous period, itis characterized by using thin and flexible white lines and netting patterns along with the coloringof the light blue series as well as the complex composition and the cobalt blue series of blue,navy blue and pink. On the other hand, in Cholcheoguhoedo in the 19th century, thesemicircular composition, and arrangement of three phases of high-middle-low, etc., someexpression of the Buddhist paintings is simplified as the scale of the Buddhist paintings isreduced, while the contents tend to become more complicated. These Byeonsangdos are notonly a good comparison with Byeonsangdo of the origins of Duhaung Mogao Caves, but alsomeaningful in that they can discover the identity and value of Korea history of Buddhist art.