朝鮮後半期 彌勒佛掛佛圖 硏究

Abstract

The late Joseon, a period in which painting was thriving more than sculpture in the history of art, saw the first appearance of hanging Buddhist pictures of Maitreya, which include the hanging Buddhist pictures of Maitreya in Muryang Temple (1627) and Janggok Temple (1673),addressed in this thesis. As a first research task with respect to these two hanging Buddhist pictures of Maitreya, we can above all take the problem of why they depict the Yeonjibogwanhyeong (蓮持寶冠形) icon though the name of Buddha is indicated as 彌勒佛, Maitreya. Given that the form of Yeonjibogwanhyeong is a representative figure of Bodhisattva, this thesis finds out the following points by investigating the background of the birth of this icon. First of all, 佛 (Buddha) is designated in most cases of hanging Buddhist pictures using the form of Yeonjibogwanhyeong with the name of Buddha on them except these two pieces This can be regarded as assigning the characteristics of Bodhisattva and Buddha simultaneously so that it can accommodate the dual wish that people make to lead the dead and to be saved from the troubles of the reality. Next, it is related to the philosophical characteristics of Maitreya. The Maitreya philosophy has two kinds of property; one is related to the Maitreya Sangsaeng (life upward) philosophy in which Maitreya raises to Dosolcheon; the other is related to the Maitreya Hasaeng (life downward) philosophy in which Maitreya comes down to Yonghwa Segye (the world of dragon’s thriving) 5,670,000 years after to save people. Thus, from the fact that the iconicity appears in the two forms of Bodhisattva and Buddha, we can think that Maitreya is an optimized subject of faith who can exert the powers of Buddha and Bodhisattva simultaneously. Next, we can see some properties of Samsin-Samse-Bul from these two hanging Buddhist pictures. Though is in the form of single Buddha, the one in Muryang Temple has 16 painted Buddha’s around the halo and 6 on the jewel wreath, who make different hand forms including Jogwonin, Amitain, Hangmachokjiin etc. On the other hand, from the other on in Janggok Temple, which is a kind of multiple-Buddha picture, also shows the structure of Gwonsok and Buddha’s on the jewel wreath with different hand forms, we can identify that it is also on the same line of the philosophy of Samsinsamsebul, which was thriving in the late Joseon period.