고려시대 수월관음보살도의 표현기법 연구

Abstract

This study attempted to analyze the expression technique of Goryeo Water‐Moon Avalokitesvara Paintings, which had received the iconographies from China, but which had their own unique style of Goryeo. Prior to the analysis of expression techniques, this study intended to briefly examine the origin of iconographies, and then try to point out the implications of expressive technique in Goryeo. For analysis, expression techniques were divided into composition, shape, brush line, color, and pattern. With reference to several works as for the iconographies of Goryeo Water‐Moon Avalokitesvara Paintings based on various related historical materials and the Buddhism culture exchange history of the time, they seem to have been introduced much earlier than the Goryeo era, and it seems that Goryeo's original form had already been made in the early Goryeo period. And it is presumed that they were interaffected and developed with Song. The composition is basically based on oblique or symmetrical composition. Using rocks and water, it naturally created a stable vertical and horizontal composition, and the vertical and horizontal rigid composition was broken into rings (圓) of Shingwang and Dugwang. The shape was described as adding rhythm, taking into account the depth and space, and tried to portray the object as realistically as possible. In brushing methods, myobeop and junbeop were differently used for different objects according to the subject of expression, and various brushing methods have been used to make the characteristics of each object more effective. There are three distinctive features in coloring. The first is a technique to relax the contrast of the colors in white and gold, the second is a technique to make subtle colors by weakening the strong colors by using delicate patterns, and the third is the gentle Barim technique. Finally, the pattern is engraved with a specific pattern just as a certain rule is applied according to the objects to be expressed. And there was a characteristic aspect in the expression of the pattern. The first is to emphasize the pleat line, not to insert the pattern next to the line, and the second is to emphasize the pattern and to engrave it with the shape of the pattern without being affected by the pleat. As such, Goryeo's Water‐Moon Avalokitesvara Paintings would have shown great expression and have greatly influenced the development of Buddhism painting history as well as the development of general painting history. And detailed and accurate realistic depiction is of great significance in the study of Goryeo cultural history as well as art history research.