한중 변상(變相)의 전승과 그림연행의 양상 - <사리불항마변상>과 <안락국태자변상>을 중심으로

Abstract

In this study, the scroll painting performances of Sariputta hangmabyeonmoon and hanging painting performances of Anrackook- taejabyeonsang were examined from the perspective of painting performance. First, the draft and the type of alteration of the painting performances were indentified, and then the composition of the figure and the method of painting performance were identified. Finally, the literary value and significance of the two variants were reviewed. The contents of the discussion are summaraized as follows. First, the draft and type of the two variants were identified. The original text of the Sariputta hangmabyeonsang is confirmed as Hangmabyeonmoon. This is because the overall content or insertion song is not different from Hangmabyeonmoon. The origian draft of Anrackooktaejabyeonsang is confirmed as Anrackooktaejabyeonmoon of in volume 8 of WolInseokbo. The overall content or insertion song is unanimous with Anrackooktaejabyeonmoon. And the types of both transformation painting are largely divided into two. . In other words, one is painted as a mural of a temple, and the other is painted as a movable transformation painting. The latter includes the scroll painting performances of Sariputta hangmabyeonsang and hanging painting performances of Anrackooktaejabyeonsang. Second, the composition of the two transformation painting and the method of painting performance were examined. Sariputta hangma -byeonsang shows a parallel structure through left-right symmetry. On the right side of Saribul, Nodocha was placed on the left side and the scene of the martial arts was placed in the middle. In addition, the 변문 of verse is placed on the back of the painting to show the juxtaposition of paintings and literature. As a result, it became possible to perform the singing-oriented Tale-Song performance and scene performance through repetiton. Anrackooktaejabyeonsang shows a causal structure through a vertical symmetrical structure. The sacred world at the upper level and the secular world at the lower class were symmetrical. In addition, the contents of the Korean text corresponding to each picture are arranged to show a parallel structure of paintings and literature. Therefore, it was possible to perform Tale-Song performance centered on discourse and cause-and-effect performance centered on events. Third, the literary value and literary historical significance of the two transformation painting were viewed. Sariputta hangmabyeonsang was directed as a Buddhist play in the performance. It can be a Buddhist missionary play in terms of purpose, and a Buddhist humorous play in terms of content. Anrackooktaejabyeonsang presupposes a Buddhist play, and if you look at King Sarasu and Madam Wonang it can be a Buddhist old drama and a Buddhist filial drama if you look at Anrakguk. It is worth noting in the history of literature and art in each country that they were handed down through painting performances. In the case of China, not only could it affect later painting performances, but it could also affect Zhugongdiao(諸宮調)) of Tale-Song literature, which emphasized music. In the case of Korea, the significance of literary history is noteworthy as the Buddhist byeonmoon develops into a classic novel, which is a People's byeonmoon, or the tradition of performance spreads to shamanism.