조선 후반기 불화 연화문양 도상 연구

Abstract

This study examined lotus design patterned on Buddha ‘s robe in Buddhist paintings created in the late Joseon Dynasty. The origin of lotus pattern can be found in lotus patterns in mural paintings that began to appear in the mid 4th century, and it became regarded as the supreme of solemnity elements of Buddha ‘s robe with the active creation of Buddhist paintings in the Koryo Dynasty, and its artistry also reached a high level. In the same context, lotus pattern was most central among various patterns expressed on Buddha ‘s robe in Buddhist and Bodhisattva images created in the Joseon Dynasty, and particularly in the late Joseon Dynasty, the pattern was used in various ways depending on the position of patterning. Thus, this study examined solemn lotus patterns on Buddha ‘s robe, centering on Buddhist banner paintings, which are the core of Buddhist ritual paintings, among Buddhist paintings created during the late Joseon Dynasty. Before the discussion, the meaning of lotus pattern was explored first, and then the types of lotus pattern were examined according to the position of patterning on Buddha ‘s robe in Buddhist paintings from the late Joseon Dynasty, and lastly, the development of the style of lotus pattern expressed on Buddha ‘s robe in Buddhist paintings created during the late Joseon Dynasty was analyzed according to period. The beauty of Buddhist paintings is determined by the harmony of composition, form, color, line, and pattern. Most of these elements are rather abstract and subjective, so hardly explainable, but pattern is a somewhat tangible and visible element and it solemnifies Buddhist paintings in a beautiful way and explains them concretely. For this reason, pattern is an indispensable element in creating Buddhist paintings. Lotus pattern on Buddha ‘s robe evolved from the three-layered lotus pattern in the 1st period (17th century) to two-layered lotus pattern in the 2nd period (18th century) and to more sophisticated eight-leaf single-petal lotus pattern in the 3rd period (19th century). This development shows how much lotus pattern changed through different periods. Along with this, it was found that lotus pattern changed and the style of Buddhist paintings was also different according to the group of monk painters in each period. This suggests that changes in the pattern of Buddha ‘s robe provide a crucial base for estimating the evolvement of Buddhist painting style. In this way, lotus pattern on Buddha ‘s robe used in the late Joseon Dynasty is expressing adequately the stylistic characteristic of Buddhist paintings in the late Joseon Dynasty, and provides an important criterion for setting the chronology of Buddhist paintings in the late Joseon Dynasty.