일본 不動院 소장 고려 <萬五千佛圖> 연구

Abstract

The Painting of Fifteen Thousand Buddhas(萬五千佛圖) of Goryeo Dynastyin Fuddouin of Japan is colored on the silk(W:175.9cm H:87.1cm), and it isclassified as a picture and a painted mounting of picture. On the top of thepicture, "大平(Daepyeong)" is written and on the below, Buddha is perched inthe middle of large halo. There is a head halo behind the Buddha, and hewears a red top(朱色大衣) and a white cloth(白衣) patterned circles, and sitsfor holding a right leg with both hands and looking back with upside. Especially, all parts of the cloth of Buddha is depicted incarnates of Buddha(化佛) and Bodhisattva(菩薩形 化佛) style by lines and gold and ink stick. On thetop of the painted mounting of picture, "萬五千佛(Manocheonbul)" is writtenby red color, and on the below, a lot of group of buddha and bodhisattva. The middle of the below, "二佛竝坐像(Ibulbeongjwasang)" of the Shakyamuniand Prabhutaratna in the pagoda of Prabhutaratna from The Lotus Sutra(法華經) is depicted. And from side to side, the sixteen of incarnate group ofBuddha and Bodhisattva style are expressed with a name tag. Meanwhile, there is a opinion that the Buddha of this painting is VairochanaBuddha. However, according to hair, knot, jewelry, cloth, large halo, moon,long sash, sitting position, and incarnate on the crown of buddha, his identityis judged a Avalokitesvara(觀音菩薩). Moreover, there are the various religiouselements mixed in The Painting of Fifteen Thousand Buddhas. The first, thesmall fifteen-thousand-incarnates on the Buddha and his surroundings and thepatterns on the painted mounting of picture symbolizes a world of Avatamsaka(華嚴). The second, the sitting position of the Avalokitesvara whichis the motif in the icon of the Disciples and Arhats is the element of theDhyana(禪宗). The third, the pagoda of Prabhutaratna is the element of theSaddharmapundarika(法華). And from side to side, the sixteen of incarnategroup of Buddha and Bodhisattva are the icons from the scriptures andcoordination of the Esoteric Buddhism. Therefore, The Painting of FifteenThousand Buddhas is interpreted as the painting combined the variousreligious elements of the Avatamsaka, the Saddharmapundarika, the EsotericBuddhism, and the Dhyana. About style of painting, according to face, features, hair line of brow, falbalaof cloth, and so forth of the Avalokitesvara, this painting is similar the Paintingof Arhats in 1235~1236 more than the other in the late of the 13th century. Also, through the incarnate of the crown, small incarnates of Buddha andBodhisattva style, and the pagoda of Prabhutaratna, the time of production ispresumed earlier than the late of the 13th Century. There are somecharacteristics in the coloring. The first, white color is used. the using thiscolor for the middle class of light pigment is utilized by X-ray and repair reportof the Painting. This skill is used in the The illustration of Maitreyavyakarana-Sutra in 1294 own Myomanji of Japan as well. The second, thecoloring of the white circle is the triple coloring by orange, white, and gold. This coloring style is utilized by the painting of South Song. The sitting position and the long sash of Avalokitesvara in the Painting ofFifteen Thousand Buddhas are influenced by Self-existent Avalokiteshvara(自在觀音菩薩) and Long Sash Avalokiteshvara(長帶觀音菩薩) created by Li,Gong-lin(李公麟) in North Song. Therefore, the time of production of ThePainting of Fifteen Thousand Buddhas is considered from the first half of the12th to the late of the 13th Century. In conclusion, The Painting of Fifteen Thousand Buddhas is such as aBuddhist icon assembly among the Buddhist Paintings of Goryeo. Also, itsmain bodhisattva is Avalokitesvara of Avatamsaka line which is different form among Water-moon Avalokitesvara, and especially, the painted mounting ofpicture is depicted in the earlier than other Buddhist Paintings of Goryeo.