일본 妙滿寺(묘만지) 소장 1294년명<彌勒下生變相圖> 연구

Abstract

Illustrations of Maitreya-vyakarana-Sutra describe the teaching of the sutrathat Maitreya Bodhisattva would become Buddha in the future and save peoplefrom the sufferings of the world through three preachings. There are three extant illustrations of Maitreya-vyakarana-Sutra. All of themwere created during the late Koryo Dynasty, and are kept, respectively, atMyoman-ji(妙滿寺), Chion-in(知恩院), and Shinno-in(親王院) in Japan. <TheIllustration of Maitreya-vyakarana-Sutra> at Myoman-ji, which is covered in thisstudy, were created in 1294 by Lee Seong(李晟) who served as Munhandaejo(a government office in the Koryo Dynasty). It was discovered newly duringthe investigation of art works at Myoman-ji by the Kyoto National Museum. The work at Chion-in(circa early 14th century) and that at Shinno-in(1350)are quite similar to each other in the contents of painting. However, the workat Myoman-ji is slightly different in icons from the other two. The icons in thework at Myoman-ji are largely divided into the top, the middle, and the bottomaccording to the main episodes of the sutra, and the story flows from the top tothe bottom. The top describes the scenes that Maitreya, who has becomeBuddha, is preaching under the Naga-puspa tree(龍華樹) at Hwarim-won(華林園) and people are renouncing the world by having their hair cut. The scenesin the middle show the world that has become peaceful after the advent ofMaitreya and the seven treasures of Cakravartin(轉輪聖王). In the bottom,people travel to the realm of Maitreya on the Prajna Dragon Boat(般若龍船). On the head of the Buddhist painting is written ‘Mireukyeoraehasaengjido(Painting of Descending Maitreya)’, and on the foot is written ‘Yonghwahoido (Painting of Preaching under the Naga-puspa Tree).’ These icons were createdbased on faith in Maitreya-vyakarana. In addition, its main theme is the sceneof preaching under the Naga-puspa tree among the contents of Maitreyavyakarana-Sutra. Because of a few additional records beside each painting,moreover, the icons can be interpreted specifically. The bottom of the screenhas the record that Monks Jaseon(慈船) and Heein(希忍) ordered and paid theexpenses, and Munhandaejo Lee Seong drew the painting. Because Lee Seongwas a court painter, Jaseon and Heein are believed to have been closelyrelated to the royal family. What is more, the work at Myoman-ji expresses Bodhisattva related to foodofferings and a golden treasure pagoda, which are not found in those atShinno-in(1350) and Chion-in. The configuration of the six kinds of foodofferings used in Buddhist rituals in the image of Bodhisattva suggestsemphasis on the merit and virtue of food offerings in those days. In particular,the golden treasure pagoda is believed to depict an actual golden treasurepagoda enshrined within a building of a temple or palace in those days. Thescene of the Prajna Dragon Boat expressed together on the bottom is theearliest case among extant paintings showing the icon of the Prajna DragonBoat. It has been so far believed that the Prajna Dragon Boat was related tofaith in Amitabha and appeared for the first time in the Joseon Dynasty. In thissense, the work at Myoman-ji is a valuable material showing that the icon ofthe Prajna Dragon Boat began to be painted from the Koryo Dynasty. <The Illustration of Maitreya-vyakarana-Sutra> at Myoman-ji has iconographicand stylistic characteristics that are not observed in the other extant illustrationsof Maitreya-vyakarana-Sutra. In addition, records included in the painting tellabout the year of creation, the sponsors, and the painter. This work providesmany clues to research on Buddhist paintings created in the late KoryoDynasty, and provides a base for the chronology of Buddhist paintings in thelate 13th century.