水月, 淸淨慈悲의 美學 -고려시대 水月觀音圖의 ‘水月’의 도상학적 의미-

Abstract

This paper explores the iconographical elements and stylistic characteristics of the Goryeo Buddhist paintings titled "Water-moon Avalokiteśvara 水月觀音" based on the name "Water-moon," or the metaphor of "the moon reflected on the water" (S. udakacandra; 水月or 水中月). While a number of articles analyzing the paintings from a formative aspect have been published, almost no work has been carried out on their philosophical (or Buddhist) background, despite their importance as the major genre of Goryeo Buddhist art. Hence, the name "Water-moon Avalokiteśvara" has been interpreted through the relationship between the "water-moon" and Avalokiteśvara, the bodhisattva of compassion, and the ideology and symbolism inherent in the term "water-moon," along with an analysis of its meaning and symbolism as manifested in the Goryeo paintings. As Avalokiteśvara represents the emanation body of the Buddha, or nirmānakāya 應身, scriptural sources have been explored to find the connection between this theory and the metaphor of "the moon reflected on the water 水月". The scriptural basis presented was mainly drawn from commentaries to the Avatamsaka Sūtra such as the monk Changguan 澄觀’s Annotation to the Flower Garland Sutra (K. Hwaeomgyeong-so, 華嚴經疏) and Commentary to Eliciting the True Meaning of the Flower Garland Sutra (K. Hwaeomgyeong suseo yeonui-so, 華嚴經隨疏演義鈔, which explore the relationship between the nirmānakāya and the other two bodies of the Buddha, dharmakāya and sambhogakāya, and how the connection is explained through the metaphor of "the moon reflected on the water." The ideological foundation for the "Water-moon Avalokiteśvara" paintings of the Goryeo Dynasty has thus been explored based on an analysis of the name and subsequent iconographical interpretation of the paintings.