여말선초 <관음 지장병립도觀音地藏竝立圖>의 기원과 내포 의미 검토

Abstract

The Buddhist paintings named <Avalokiteśvara Kṣitigarbha Byeongnipdo> were created during the Late Goryeo and Early Joseon. Presently, there are 4 paintings of 3 types created in the Late Goryeo and 1 painting created in 15C or early Joseon Era. This type of painting is peculiar in that such pattern is not found in Chinese and Japanese Buddhism. The Byeongjon(竝存, coexistence) of Avalokiteśvara and Kṣitigarbha began to appear from the Wei, Jin, and the Southern and Northern Dynasties(魏晋南北朝时期). However, in their coexistence of China, the positions of two Bodhisattvas were not constant. In addition, both the Bodhisattva did not stand up, but one of them stood up and the other sat down. By the way, <Avalokiteśvara Kṣitigarbha Byeongnipdos> in Korea have the consistent pattern that Kṣitigarbha stands on the left and Avalokiteśvara on the right at all times. First, the pattern of the left-Kṣitigarbha and the right-Avalokiteśvara can be confirmed in <Amita Samjondo(阿彌陀三尊圖)> or <Amita Naeyeongdo(阿彌陀來迎圖)>, where Mahasthama-prapta is substituted by Kṣitigarbha. In other words, this shows the consistency that occurs in the emphasis of ancestor worship with the introduction of Jujahag in late Goryeo period and the rise of Kṣitigarbha faith due to it as well as its combination with the Mita faith. Furthermore, the posture of standing along(竝立) can also be understood in connection with their appearance as rescuers in the contemporary painting <Inrowang Bosaldo(引路王菩薩圖)>. Finally, the Byeongnip of Avalokiteśvara and Kṣitigarbha can reflect the universal concept of East-Asian Buddhism as “present-Avalokiteśvara and afterdeath-Kṣitigarbha” that was in vogue since the middle of Tang Dynasty. Therefore, from the view point of Bodhisattva faith in Mahayanist Buddhism, <Avalokiteśvara Kṣitigarbha Byeongnipdo> can be considered as a solution of Late Goryeo Buddhism that responded to the time demands on the peace in both life and afterlife.