高麗時代<彌勒下生經變相圖>硏究

Abstract

A faith of Maitreya has widely been believed in Korea since the Buddhism is introduced, and the production of the image has actively made as well. While the painting of Maitreya is rarely found, numerous images of one are easily seen. In this study, the chronicle of the Maitreya painting through an iconic explanation and a stylistic analysis, focusing on The Illustration of Maitreya-vyākarana-Sūtra(彌勒下生經變相圖) in the Goryo Dynasty, is attempted from the consideration of manufacturing history and comparison with Maitreya sūtra. Even though the complete iconic systemof the Maitreya sūtra painting has fixed in the wall paintings of Dunhuang during Sui and Tang Dynasties by way of India and western China, it has brought to the final completion in Goryo Dynasty. In other words, The illustration of Maitreya-vyākarana-Sūtra manufactured in the Goryo Dynasty is obviously influenced by the settled formation of Maitreya sutra scene painting in China; besides, the distinguished techniques in lines, composition, formation, expression method, implication, etc are being seen far superior. The illustration of Maitreya-vyākarana-Sūtra in the Goryo Dynasty is explanatory painting of the contents of Maitreya-vyākarana-Sūtra(彌勒下生經), which is very uncommon since most paintings manufactured in Goryo dynasty are related to a faith ofAmitābha. According to the written record stating three sermons under Nāgavŗkşa on the illustration of Maitreya-vyākarana-Sūtra preserved in shinno-in, it is clear that the painting illustrates the scene of Maitreya's preaching under Nāgavŗkşa, and this might be closely connected to the document of the assembly under Nāgapuṣna tree(龍華會) in the late Goryo Dynasty. Also, it is worth for the illustration of Maitreya-vyākarana-Sūtra preserved in chion-in to be considered in relation to two times of the assembly under Nāgapuṣna tree(龍華會) taken place in Gwangmyeong temple during the reign of King Chungryeol. This painting is more meaningful for the use of a standard work in studying of Buddhist painting since it has definite records of manufacture year, manufacturers, and participants. There is not a big iconic difference, but definite stylistic difference. By comparing the forms and styles of two paintings, the illustration of Maitreya-vyākarana-Sūtra preserved in chion-in seems to be manufactured somewhat earlier in the former term of 14th century. Therefore, it is possible to make a hypothesis that the Buddha ․ Bodhisattva's body painted in quiet rose-pink is advanced than one thickly painted in near golden color. Moreover, the similarities between two paintings, such as contents, formation, size, etc, suggest that a collection of iconic related to Buddhist painting might have been existed at that time. Hyeoncheol, a prayer for the illustration of Maitreya-vyākarana-Sūtra preserved in shinno-in, is known as a Buddhist priest who became a ascetic pillar of the country in 1332 and formed Lotus Sūtra written in silver. The characters appeared on this painting are presumed to have played important roles in the production of Buddhist objects in those days. An analysis of the characters participated in the manufacture of Buddhist painting and comparative study for all the elements used in its construction between China and Korea are expected to be studied for the next time.