* 본 문서는 배포용으로 복사 및 편집이 불가합니다.
서지정보
ㆍ발행기관 : 동아시아문화학회
ㆍ수록지정보 : 동아시아문화와예술
ㆍ저자명 : 구진경
ㆍ저자명 : 구진경
목차
I. 머리말II. 조성배경
III. 도상의 연원과 전개
IV. 도상의 특징
Ⅴ. 맺음말
참고문헌
한국어 초록
Amitabha with the Eight Great Bodhisattvas painting was madeby adding a iconography of Eight Great Bodhisattvas to Amitabha
painting in late Koryo Dynasty for which Amitabha Buddhism
had been mixing with Esoteric Buddhism. <The Eight Great
Bodhisattvas Mandala-sutra> has been designated as a original
source of Koryo’s Amitabha with the Eight Great Bodhisattvas
painting for a long time.
An original source of iconography of Koryo’s Amitabha
with the Eight Great Bodhisattvas painting seems to be one of
two styles which had been popular during that time. It is the
Amitabha with the Eight Great Bodhisattvas painting, which had
been found in Dunhuang in 9 century and have been kept in the
British Museum. It appears that the painting followed the picture
composition and the arrangement format of the painting where
Esoteric Buddhism’s Virocana was arranged together with Eight
Great Bodhisattvas.
As a result of investigation of the names and positions of Eight
Great Bodhisattvas in the painting, bodhisattvas whose feature
and attribute is similar to those found in an original source for the
Eight Great Bodhisattvas painting, <The Eight Great Bodhisattavas
Mandala-sutra>, were Avalokitesvara, and Vajragarbha but not
Ksitigarbha, Manjusri, Samantabhadra, Sarvanivaranaviskambhain,
Maitreya, and Mahasthaprapta. The disposition order of
bodhisattvas on the painting was foremost Avalokitesvara and
Mahasthaprapta →Maitreya and Ksitigarbha → Manjusri and
Samantabhadra → Vajragarbha and Sarvanivaranaviskambhain,
which seems to reflect the order of people’s trust in them.
Finally, as compared Amitabha with the Eight Great
Bodhisattvas paintings, which were made in Koryo Dynasty(late
13C-14C), with those made in China or Japan during 8C to
9C, there are some differences in iconographic features of the
painting. Especially, Amitabha’s dressing method, hand gesture,
bodhisattva’s shawl and box, book, and stick as the bodhisattva’
s attribute indicate that influence of Esoteric Buddhism on the
iconography of the painting declined and Koryo’s own style
appeared. Furthermore, an appearance of the Reception painting
and an replacement of Akasagarbha by Mahasthaprapta reflects
Koryo’s own style pursuing the iconography of Amitabha
Buddhism.
영어 초록
Amitabha with the Eight Great Bodhisattvas painting was madeby adding a iconography of Eight Great Bodhisattvas to Amitabhapainting in late Koryo Dynasty for which Amitabha Buddhismhad been mixing with Esoteric Buddhism. <The Eight GreatBodhisattvas Mandala-sutra> has been designated as a originalsource of Koryo’s Amitabha with the Eight Great Bodhisattvaspainting for a long time.An original source of iconography of Koryo’s Amitabhawith the Eight Great Bodhisattvas painting seems to be one oftwo styles which had been popular during that time. It is theAmitabha with the Eight Great Bodhisattvas painting, which hadbeen found in Dunhuang in 9 century and have been kept in theBritish Museum. It appears that the painting followed the picturecomposition and the arrangement format of the painting whereEsoteric Buddhism’s Virocana was arranged together with EightGreat Bodhisattvas.As a result of investigation of the names and positions of EightGreat Bodhisattvas in the painting, bodhisattvas whose featureand attribute is similar to those found in an original source for theEight Great Bodhisattvas painting, <The Eight Great BodhisattavasMandala-sutra>, were Avalokitesvara, and Vajragarbha but notKsitigarbha, Manjusri, Samantabhadra, Sarvanivaranaviskambhain,Maitreya, and Mahasthaprapta. The disposition order ofbodhisattvas on the painting was foremost Avalokitesvara andMahasthaprapta →Maitreya and Ksitigarbha → Manjusri andSamantabhadra → Vajragarbha and Sarvanivaranaviskambhain,which seems to reflect the order of people’s trust in them.Finally, as compared Amitabha with the Eight GreatBodhisattvas paintings, which were made in Koryo Dynasty(late13C-14C), with those made in China or Japan during 8C to9C, there are some differences in iconographic features of thepainting. Especially, Amitabha’s dressing method, hand gesture,bodhisattva’s shawl and box, book, and stick as the bodhisattva’s attribute indicate that influence of Esoteric Buddhism on theiconography of the painting declined and Koryo’s own styleappeared. Furthermore, an appearance of the Reception paintingand an replacement of Akasagarbha by Mahasthaprapta reflectsKoryo’s own style pursuing the iconography of AmitabhaBuddhism.참고 자료
없음태그
"동아시아문화와예술"의 다른 논문
水神제사와 感孕모티프 : 神話와 儀式의 구조학적 연구 사례10페이지
靑龍과 白虎3페이지
세계전람회 그 건축사를 위한 공헌14페이지
음양오행과 연극9페이지
Deleuze between territory and feng shui8페이지
비디오 아트에 나타난 변형된 시간성의 의미36페이지
앤디 워홀과 대중주의32페이지
미술을 통한 페미니즘41페이지
엘 그레코 El Greco의 후기작품 연구38페이지
서기전 5~4세기 그리스 극장건축의 전개와 비극의 수용25페이지