일본에 소장된 고려 陽柳觀音圖의 복식 문양 고찰

Abstract

This research has comparatively analyzed certain patterns emergent from "jewel crown", "veil", "skirt" and "shawl" in "the painting of Willow Guanyin Figure (楊柳觀音圖: yangyukwaneum-do)", through which to examine not only the then period’s characteristics but also these patterns’ explicit expressions and the implicit meanings embedded in them. Clothing patterns appearing from the painting of yangyukwaneum, one of the Buddhist paintings of the Koryo era, is really colorful and excessively decorative in contrast to its Chinese and Japanese equivalents. During the Koryo era, Buddhism has been highly revered, resulting in many Buddhist paintings being produced. For instance, there is such a Buddhist painting originating in the palace as that owned by the Kyungshin Temple. In particular, this Buddhist painting is the work of a professional painter, hence quite finely and elaborately painted. The temporal characteristics and implicit meanings that the painting of yangyukwaneum has are largely three-fold: [1] various sorts of patterns, [2] rich color and [3] the frequent use of phoenix pattern quite common in royal Buddhist paintings. In this sense, the Koryo people’s all-time desire to be free from restraints can also be detected in the "cloud-pattern" and the "flying phoenix-pattern". In addition to them, what this painting implies is also characteristically multiple. For instance, such objects connotative of Buddhism as the "patterns of po-phase or lotus flowers" has been used, and the "chrysanthemum-pattern" based on Taoism and the "turtle shell-pattern" popular in folk beliefs have been naturally combined.