15세기 王室發願 佛敎變相版畵의 제작과 흐름

Abstract

The woodblock prints produced by the royal family of 15th Century are categorized, based on the origin of their icons, into those which adopted and transformed icons from the printings of Goryeo and China, and those produced independently by the royal family. And the assumption that the original icons were produced by the royal family is also supported by the fact that the production of those woodblock prints involved professional engravers and painters working for the royal family in the mid-15th century, and that the Buddhist scriptures were most actively published inside the royal family during the time. What distinguishes the woodblock prints by the royal family the most from the ones by Buddhist temples is that they involved engravers who were Buddhist laymen working for the royal family. According to the list of producers recorded in the Buddhist scriptures, those Buddhist laymen engravers participated in the engraving of Buddhist scriptures for the royal family starting in the mid-15th century. Besides, the existence of Lee Jang-son, who was a painter and an engraver for the royal family, shows that the painters working for the royal family participated in both sketches and engravings. It appears that the prints produced by the royal family before the mid-15th century do not have notable difference from the ones produced by Buddhist temples. But overall, they have good, more consistent engraving quality compared to the prints by Buddhist temples produced in the same period. After the mid-15th century when Buddhist laymen engravers started to participate in the work, the royal family began to produce woodblock prints based on their independently-developed icons, and production of the prints involved not only the engravers but also the painters. And the influences of the Ming Dynasty are confirmed in the prints made by these people. From this period, it can be seen that a new style was accepted in the Buddhist prints of Joseon.