감로도 도상의 기원과 전개 -연구현황과 쟁점을 중심으로-

Abstract

This study examines the composition of Nectar Ritual Paintings(Gamrodo), the origins of Nectar Ritual paintings and issues of the basic Buddhist sutra, the various kinds of views related to the image of iconography at the bottom of Nectar Ritual Paintings, and then explore various names referring to Nectar Ritual Paintings. The origin of the Nectar Ritual Paintings is based on the belief that it developed independently on the basis of various beliefs in Korea, originated from the ritual Buddhist paintings for the Water‐Land Ritual, and influenced by the Water‐Land Ritual Paintings, and the origin of the scriptures of the eschatology as the basic Buddhist sutra. And as for the image of the lower part, researches focusing on the relationship between the scene at the bottom and books for ritual and the relationship between genre pictures and researches on the relationship between the scene at the bottom and the social phenomenon at the time were performed. In addition, in the aspect of artistic music history, on play methods of the groups of performing arts and entertainments at the bottom of the scene, and kinds and characters of artist groups, and the kinds of instruments, and play groups, especially research has been actively conducted on Sadangpae. In addition, a variety of studies were conducted on Images expressed at the bottom of Nectar Ritual Paintings including Buddhist dance, costume, beauty, Buddhist goods and instruments, and flower paintings. The names of Nectar Ritual Paintings varied from generation to generation, but the names such as Gamrotaeng, Gamrowangtaeng, and Gamrohoe were most commonly associated with Gamro (Sweet Nectar). Nectar Ritual Paintings was called as Taengbul in the 16th century, as Hwasang or Gamrowangtaeng in the 17th century. It was recorded as Gamrowangtaeng, Gamrotaeng, Gamrohoe, and Hadantaeng in the 18th century, and as Gamrotaeng in the 19th and 20th centuries, and so it can be said that the most common name for Nectar Ritual Paintings was Gamrotaeng or Gamrowangtaeng. Among them, there were cases that Gamrotaengtaeng was not included among seven Buddhas and/or five Buddhas. Even if it was included, it is difficult to confirm who is Gamro Buddha. In the later Joseon works, Gamro Buddha and Amitabha Buddha were identified to tend to express Amitabha Buddha as principal Buddha, which accordingly, is not suitable for the name referring to Nectar Ritual Paintings. Considering that Nectar Ritual Paintings are out of world of Preta by giving Sweet Nectar to the Forlorn Wandering Spirits and that Reincarnation in the Pure land is a picture‐depicting discourse, the most important medium linking world of Preta and Paradise in Nectar Ritual Paintings is Sweet Nectar, and so therefore I think that it is appropriate to call these pictures which expressed these contents as Gamrodo or Gamrotaeng.