儀式集을 중심으로 본 掛佛畵의 造成 思想

Abstract

Gwaebul Painting(掛佛畵) is a conventional Buddhist painting which is used for outdoor ritual services. It is hung on the top of a pole in the front yard of a temple during some special ceremonies such as Buddha's birthday, Youngsanjae(靈山齋), Soorukjae(水陸齋), Yaesoojae(豫修齋). Gwaebul Painting has intimate relation with the Manual since it is used for ceremonial occurrences. This paper is about the Creation Ideology focusing on Ritual Manuals and Gwaebul Painting. In chapter Ⅱ, I illustrated the socio-economical background of the sixteenth and seventeenth centuries as the Manual was intensively developed. From the sixteenth century until the early eighteenth century, there were numerous natural disasters caused by declining temperature. Millions of people died of famine, epidemic and wars. At that time, Buddhism took over some significant roles from Confucianism. One of them was Cheondojae(薦度齋) which was possibly sparked to publish the Manual actively. Also, the newly emerged working class supported Buddhism financially as new donators. The damaged temples were reconstructed to fit a courtyard of a temple for ritual services as they were being rebuilt after the wars. Meanwhile, Gwaebul Painting was also made and used. In chapter Ⅲ, I researched for the relation between the process in Manual systematization and Gwaebul Painting during the seventeenth and eighteenth centuries. Amongst a ritual ceremony which was performed in a courtyard of a temple, Gwaebul Painting represented Buddha Bodhisattva(佛菩薩). Also, Gwaebul Painting carried significant meaning of turing the courtyard into a preaching location of Youngsanhoesang(靈山會上). In the Manual, those remarks on Gwaebul Painting can be found in Youngsandaehoejakbubjulcha(靈山大會作法節次) and Daeyoungsanhoetaeng(大靈山會幀). In addition, the historical documents on process of hanging the Gwaebul Painting can be found in Ojongbumeumjip(五種梵音集), Sanbobumeumjip(刪補梵音集), Jebanmoon(諸般文) and Chunjeemyoungyangsoorukjaeuhi -bumumsanbojip (天地冥陽水陸齋儀梵音刪補集). Hanging Gwaebul Painting ceremony was finally fixed as one of ritual ceremony procedures in Chunjeemyoungyangsoorukjaeuhi -bumumsanbojip which was called Gwaebuleewoon(掛佛移運) In this paper I presented Jebanmoon(諸般文) DaejagBulsaGwaejeongbul(大作佛事掛㡠佛) as new research data. In chapter Ⅳ, I researched the Creation Ideology of Gwaebul Painting in the Manualn Ideology of GwDlorma Issembly on Mtn Grdhadkuta which was based on the Sutra n Grdh Lntus was rdh mostutrpular pattern. In addition, the Sutra n Grdh Lntus focused on zen prattece Gwaebul Painting (Buddha Holding a Lntus Flower) and Buddhas n Grdh diree Bodies Gwaebul Painting e fudted by Hwauhaasang were also created. In the era n Grdh uni zen prattec, Buddhas n Grdh diree Bodies and diree PiehaasPainting n GBuddha were presented as Fern BuddhasIn addition,pattern n GBuddhas n Grdh diree Bodies and diree PiehaasPainting n GBuddha located by rdh bnth sidaasn GSakya uniGBuddha w diree Bpresentedoldiicushows rdh fatt n Grdh integration between Saddlorma-Pundarika Thought and HwaeDloThought which is one of rdh im on ant elements in BuhddieceAn historyelements in Chosun dynasty.