여말선초 관음보살상 연구 －윤왕좌보살상을 중심으로－

Abstract

In the late Goryeo and early Joseon Periods, there is a bodhisattva with a distinctive posture called < The Bodhisattva seated in Maharaja-lila Asana(輪王坐) > that could not be seen in previous history of Buddhist sculptures. This position known as the Cakravartin’s posture is seated with one lap set upright and arm in same direction rests on it naturally, while the other lap sit crossedlegged on the floor and the same direction hand touches the bottom. This sculptures are frequently confirmed during Goryeo Dynasty because of two factors; active international interaction on the maritime route between Goryeo and Southeastern seaside of China and the prevalence of Bodhisattva belief(觀音信仰) in the Goryeo Dynasty. This posture covers 70 pieces of sculpture and painting, and about 40 of them were produced intensively in the late Goryeo and early Joseon Periods. After analyzing them, the iconic and stylistic features indicate that Avalokitesvara sitting at mountain potalaka(補陀洛山). Looking at the making tendency of these sculpture, it has been confirmed that small buddhist statues account for more than half of the total quantity, and that specific Buddhist implements like the buddhist amulet and the bronze mirror make up the majority. And the areas where artifacts were excavated, the districts were important traffic hubs and were located under the influence of local magnates(土豪). These tendency indicates that they could understand and want to acquire the essence of supernatural power. This posture was applied intensively to buddhist sculptures. and became a major figure in painting during the Joseon Dynasty.