敦煌 莫高窟 華嚴經變相圖와 新羅 大方廣佛華嚴經變相圖의 비교 연구

Abstract

This study compares the form of the iconography of Dunhuang Mogaoku Byeonsangdo of the Avatamsaka Sutra and Shilla Daebanggwangbul Byeonsangdo of the Avatamsaka Sutra and their characteristics. Mgaoku Byeonsangdo of the Avatamsaka Sutra were popular in Tang era (15 caves), and it was drawn to 29 caves through Oh era (8 caves) to Song era (6 caves). After Song era, it was transferred to China, Korea, and Japan. In the middle of the 8th century, Shilla Byeonsangdo of the Avatamsaka Sutra was based in India and China and is an iconography borrowed from the contents of Chilcheoguhoe, 80 volumes of “the Avatamska Sutra (695‐699; Siksananda translation)” that is Mahayana Buddhism sutras. This acceptance of Avatamska's Vairocana Buddha iconography is interpreted as an example of the transformation of Shilla style, and it also tells us that at that time “the Avatamska Sutra” and Avatamska thought were widely circulated and subject to faith. Dunhuang Mogaoku “Byeonsangdo of the Avatamsaka Sutra” is a collection of Sumisan and Yeonhwajangchalhae, Chilcheoguhoe and Seonjaegubeop scenes, providing important clues to reveal the stylistic features of the period. The screen composition is different for each cave, but in general Byeonsangdo's symmetry and up‐and‐down balance, repetition and overlap of Byeonsangdo, and Somil in screen composition have unity and symmetric beauty, and the sophistication of detail and the lightness and heaviness of the Unpil are both true and vibrant. It also gives rich Jungchae and adds splendor, glamor and religious mystique, adding to the religious mystique. In a comprehensive analysis of Shilla Byeonsangdo of the Avatamsaka Sutra (754, housed by Samsung Leeum Museum), the characteristics of Vairocana Buddha, Yeonhwasajajwa, round and smooth body form, costume, Yeongrak decoration, elaborate stroke of brush, and patterns in the engravings were shown to explore the influence relationship with the works of Tang dynasty, and these are in keeping with Shilla Avalokiteshvara Paintings, Thousand‐arms‐and‐eyes Avalokitesvara Paintings, Geumsansa Maitreya Bodhisattva Paintings, Beopjusa pagoda, and Seoknamamsa Yeorae‐type Vairocana Buddha style. Finally, Shilla Byeonsangdo of the Avatamsaka Sutra can be regarded as a Shilla‐like character whose character and meaning have been transformed into the Avatamska thought in accordance with the times of Buddhist faith. This study has a meaning in the Buddhist painting history in that Mogaoku and Shilla's Byeonsangdo of the Avatamsaka Sutra maximized the screen composition and Avatamska thought consistent with the contents of Buddhist scriptures in addition to identifying historical significance of Buddhist art history.