일본 소재 조선 전기 釋迦說法圖 연구

Abstract

Most of the topics of the Buddhist Painting in the late Goryeo dynasty are Amitabha, Avalokitesvara, and Ksitigarbha, while a tiny minority of Sakyamuni Paintings are remained. However, Painting of Sakyamuni’s Preaching Assembly(釋迦說法圖) increases in 15～16th century of Joseon Dynasty. There are the ten pieces of the paintings in Japan and the six pieces of the paintings in Korea, Europe, and America, making the total sixteen pieces of the paintings remained so far. after attainment of perfection until nirvana, Sakyamuni had preached to many people for 45 years. It is an interesting that Painting of Sakyamuni’s Preaching Assembly described Sakyamuni as a teaching leader is considered generally as Painting of Yongsanhuesang(靈山會上圖) drawing of Sakayamuni’s studying of the ‘Sutra of the Lotus’(法華經) in Gisagul or Youngchui mountain(祇闍崛山 or 靈鷲山). Therefore, in this paper, it is hard to understand that every painting drawing the Sakayamuni’s preaching is the meeting of the preaching Sutra of the Lotus in gisagul mountain. In other words, Yongsanhuesangdo is a painting described preaching Sutra of the Lotus to people in Gisagul mountain (Youngchui mountain), and a painting drawing generally a scene of Sakayamuni’s preaching including Yongsanhuesangdo is Painting of Sakyamuni’s Preaching Assembly. The paintings of Sakyamuni’s Preaching Assembly in the early Joseon dynasty in Japan and other countries were classified by the five types based on the compositions of the icons, and according to that classification, the two points were examined: a concept and a enshrinement place. There were the three points discovered that The painting of Sakyamuni’s Preaching Assembly in the early Joseon dynasty inherits the point of the traditional icon of Sakyamuni in the late Goryeo dynasty. The second point is that Hangmain(降魔印), the hand form meaning the submission of the devil, is imported as a new icon of Sakyamuni. The last point is that new elements are consolidated with the Hangmain icon. There are some changes in Sakymuni on the painting that Hangmain, a shape of topknot(肉髻), a precious bead on topknot(頂上髻珠), a halo of lotus style(蓮瓣形 光背), and a pedestal of a lotus style expressed up and down symmetry(上下對稱 蓮瓣臺座). Moreover, the Four Devas who has a mandolin and questioner icon are appeared in earnest. The interesting thing is that These changes were uprising at that same time in the beginning to the early Joseon dynasty. These new elements on the painting of Sakyamuni’s Preaching Assembly in the early Joseon dynasty are confirmed to the Sutra print(經板畵)based on printed books in Ming dynasty: ‘Sutra of the Lotus’(妙法蓮華經)(1459) in Sairai-temple(西來寺), Japan and ‘Sutra of the Lotus’(1463) published by the government office for the buddhist scriptures(刊經都監). In this point, these prints published around a palace affected the painting of Sakyamuni’s Preaching Assembly in the early Joseon dynasty. These changes on the paintings in the early Joseon dynasty diffused other icons, and influenced posterity icons. As a result of impacts, the one stem of the paintings in the late Joseon dynasty was developed.