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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 187 - 232 (46page)
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This paper is studies on the resource and the icons of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska (華嚴七處九會圖) and 〈The Lotus world Paintings of Dharmadhata (蓮華藏世界圖)〉. There are a only few articles introducing the structure of the former, yet on the latter the icon and the character are not concretely analyzed. So. the resource and the structure of both paintings are revealed here as a basic research.
Both Buddhist paintings are based on 80 Avatamska sutra (80華嚴經). 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 abstracts Avatamska sutra to the painting of the seven locations and nine assemblies in a picture. A few remaining paintings drawn in the latter 18th century and early 19th century remained include the paintings of Songgwangsa Temple (宋廣寺, 1770). Seonamsa Temple (仙巖寺. 1780). Ssangyesa Temple (雙磎寺, 1790) and Tongdosa Temple (通渡寺. 1810). 〈The Lotus world Paintings of Dharmadhata〉 represents the paradise of Virocana described in the work of the Flower Bank World (華藏世界品), one of the 39 works (品) of 80 Avatamska sutra. The world of a lotus flower had been painted as a part of the assemblies in 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉, and in the latter half of the 19th century it was painted as an independent subject in a picture: 〈Pirowhajangjido (毘盧華藏之圖)〉(Seoul Historical Museum, 19th century), 〈The Lotus world Paintings of Dharmadhata〉(Yongmunsa Temple, 1896) and 〈Hwajangchalhaedo (華藏刹海圖)〉 (Tongdosa Temple, 1899). Producing the Buddhist paintings related to Avatamska sutra from the latter period of Joseon was due to the prevalence of Avatamska ideas. Avatamska sutra was a final subject for learned monks of education institute by Avatamska philosopher and they published the books on the ideas. Based on this background, the 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 and 〈The Lotus world Paintings of Dharmadhata〉 were produced to explain the content" of the Avatamska sutra more dearly and easily.
The preaching with Rocana as a head of a Buddhist lecture meeting is the most important icon in 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉. Rocana in vitarka mudra raising his hands over the shoulders puts crown and ornaments as a form of Bodhisattva. 〈Nosanabulhoedo (盧舍那佛會圖)〉(1022) of Feilai-feng, Hangchou in China is the earliest example of Rocana in Bodhisattva style. In Korea, in the latter half of the 14th century, it appeared in 〈Frontispiece of Hwaeomgyeongso (華嚴經疏變相圖), 〈Frontispiece of Brahmajala Sutra (梵網經變相圖)〉, and in 〈Frontispiece of Dharani Sutra (圓覺經變相圖). The icon of 〈Frontispiece of Hwaeomgyeongso〉 at Yeongtongsa Temple (靈通寺, 1372) is directly connected to the icon of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉. Rocana in the center is attended by Manjusri (文殊) and Samanthabhadra (普賢) on both sides and guarded by 39 Guardians (神衆) that appeared at the 1st Assembly at the Place of Truth (菩提道場會). In Joseon, 〈Frontispiece of Hwaeomgyeongso) is produced continuously at temples; Gwijinsa Temple (歸眞寺, 1556), Songgwangsa Temple (松廣寺, 1635) and Yeonggaksa Temple (靈覺寺, 1686). As a representative example. with the one from Songgwangsa Temple, there was an special effort to contain the whole contents of Avatamska sutra. The painting is described the Bodhisattva concretely from The Wonderful Adornments of the Leader of the Worlds (世主妙嚴品) and the Appearance of the Buddha (如來出現品) in the 1st Assembly and added Manjusri and Samanthabhadra, the 10 Buddhist Disciples and Sudhana from the 9th Jetavana Assembly (逝多林會). The Eight Scenes from the Life of Buddha (八相圖)' is also an important icon of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉, The preaching assembly centered Rocana from 'the Buddhist Sermon in the Deer Park (鹿苑傳法相)' , which is one of 'The Eight Scenes' , appears in the painting. The scene is recorded as 'the Buddhist Sermon Avatamska sutra (說大華嚴大法)‘ in 'The Eight Scenes from the Life of Buddha' of Yongmunsa Temple (龍門寺, 1709). The scenes of preaching assembly of Rocana above is the important icon linked to 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the late period of [oseon
〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the late period of Joseon is divided into two kinds of forms according to the composition of a picture, The ones from Songgwangsa Temple, Seonamsa Temple and Ssanggyesa Temple belong to the first form, and the one from Tongdosa Temple belongs to the second form. The picture of the first form is divided into two stages of preaching in heaven at the upper side and preaching in the earth at the lower side. On the heaven the 3rd Travastrimasah Heaven Assembly (利天宮會) and the 4th Suyama Heaven Assembly (夜摩天宮會) are on the left side, and the 5th Tusita Heaven Assembly (兜率天宮會) and the 6th Parahirmitavasavartin Heaven Assembly (他化自在天宮會) are on the right side. In the earth, centered the 1st Assembly, there are the 2nd. 7th and 8th Hall of Universal Light Assembly (寶光明殿會) on the right side, and the 9th Assembly on the left side. The names of the characters are written in each Assemblies in narrative styles. By analysing the names in the description compared with the 39 works, the one from Songgwangsa Temple most substantially represents the content of the Sutra. Though the others belonging to the first form follow the preceding model. the one from Songgwangsa temple, some Assemblies are wrongly represented or omitted.
The one from Tongdosa Temple. belonging to the second form, divided a picture with Rocana symbolizing Avatamska sutra at the upper side, and Sahagrabhuja (千手觀音) and Cudi (准提觀音) symbolizing Chonsu-sutra (千手經) at the lower side. This composition reflects the exercise of monks' that combine doctrine (敎), Buddha mantra (念佛) and Son (禪) in the latter period of Joseon On the upper side, Rocana is set in the center and the 3rd, 4th, 5th and 6th Assemblies are on the right and left sides of the Rocana. In the middle of the picture, the 1st, 2nd, 7th, 8th and the 9th Assemblies are drawn, and on the middle of the lower side Suddhana and 53 kalyamitras (善知識) are drawn. Each Assembly is consisted of Buddhas, Bodhisattvas and Guardians around the preaching Bodhisattva or Buddha in the center. The essence of painting is the Hall of Universal Light Assembly, the 2nd, 7th and the 8th. It symbolizes the consubstantiality: relating to Rocana in the upper, Buddha, the preacher of the 7th Assembly, appears as Rocana to preach Avatamska sutra, and with attending Manjusri of the 2nd Assembly on the right side and Samanthabhadra of the 8th Assembly on the left side Buddha and Rocana are completed to Dharma-kaya,
〈The Lotus world Paintings of Dharmadhata〉 expresses the paradise of Rocana explained in the 80 Avatamska sutra, Though the painting was a part of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the latter half of the 18th century, it is produced as an independent buddhist painting in the latter half of the 19th century. The model for the painting in the latter period of Joseon is two kinds of frontispiece in the book explains Avatamska ideas, Whaeomhyundamwhoehyungi (華嚴玄談會玄記). The frontispieces have two kinds of construction: one is that the 20 worlds in the first volume of the work overlap one another in an inverted triangle shape. and the other is that Buddha-field (世界種) in the 1st, 2nd and 3rd volumes of the work are arranged organically in clockwise rotation.
In 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 of Songgwangsa Temple, Seonamsa Temple and Ssanggyesa Temple, the world of lotus flower is expressed by unfolding Buddha-field of the 1st, 2nd and 3rd volumes of the work of the Flower Bank World on the right and left sides. In 〈Pirowhajangjido〉 of Seoul Historical Museum two frontispieces of 〈Whaeomhyundamwhehyungi〉 is copied and arranged up and down. 〈The Lotus world Paintings of Dharmadhata〉 of Yongmunsa Temple contains the rounded the lotus world, 〈Whajangchaelheado〉 of Tongdosa Temple the round lotus world and 20 worlds are combined.
As above based on the developed Avatamska idea 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 and 〈The Lotus world Paintings of Dharmadhata〉 describe the story of the Avatamska sutra as reading it and reveal clearly the essence of Avatamska idea.
Both Buddhist paintings are based on 80 Avatamska sutra (80華嚴經). 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 abstracts Avatamska sutra to the painting of the seven locations and nine assemblies in a picture. A few remaining paintings drawn in the latter 18th century and early 19th century remained include the paintings of Songgwangsa Temple (宋廣寺, 1770). Seonamsa Temple (仙巖寺. 1780). Ssangyesa Temple (雙磎寺, 1790) and Tongdosa Temple (通渡寺. 1810). 〈The Lotus world Paintings of Dharmadhata〉 represents the paradise of Virocana described in the work of the Flower Bank World (華藏世界品), one of the 39 works (品) of 80 Avatamska sutra. The world of a lotus flower had been painted as a part of the assemblies in 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉, and in the latter half of the 19th century it was painted as an independent subject in a picture: 〈Pirowhajangjido (毘盧華藏之圖)〉(Seoul Historical Museum, 19th century), 〈The Lotus world Paintings of Dharmadhata〉(Yongmunsa Temple, 1896) and 〈Hwajangchalhaedo (華藏刹海圖)〉 (Tongdosa Temple, 1899). Producing the Buddhist paintings related to Avatamska sutra from the latter period of Joseon was due to the prevalence of Avatamska ideas. Avatamska sutra was a final subject for learned monks of education institute by Avatamska philosopher and they published the books on the ideas. Based on this background, the 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 and 〈The Lotus world Paintings of Dharmadhata〉 were produced to explain the content" of the Avatamska sutra more dearly and easily.
The preaching with Rocana as a head of a Buddhist lecture meeting is the most important icon in 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉. Rocana in vitarka mudra raising his hands over the shoulders puts crown and ornaments as a form of Bodhisattva. 〈Nosanabulhoedo (盧舍那佛會圖)〉(1022) of Feilai-feng, Hangchou in China is the earliest example of Rocana in Bodhisattva style. In Korea, in the latter half of the 14th century, it appeared in 〈Frontispiece of Hwaeomgyeongso (華嚴經疏變相圖), 〈Frontispiece of Brahmajala Sutra (梵網經變相圖)〉, and in 〈Frontispiece of Dharani Sutra (圓覺經變相圖). The icon of 〈Frontispiece of Hwaeomgyeongso〉 at Yeongtongsa Temple (靈通寺, 1372) is directly connected to the icon of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉. Rocana in the center is attended by Manjusri (文殊) and Samanthabhadra (普賢) on both sides and guarded by 39 Guardians (神衆) that appeared at the 1st Assembly at the Place of Truth (菩提道場會). In Joseon, 〈Frontispiece of Hwaeomgyeongso) is produced continuously at temples; Gwijinsa Temple (歸眞寺, 1556), Songgwangsa Temple (松廣寺, 1635) and Yeonggaksa Temple (靈覺寺, 1686). As a representative example. with the one from Songgwangsa Temple, there was an special effort to contain the whole contents of Avatamska sutra. The painting is described the Bodhisattva concretely from The Wonderful Adornments of the Leader of the Worlds (世主妙嚴品) and the Appearance of the Buddha (如來出現品) in the 1st Assembly and added Manjusri and Samanthabhadra, the 10 Buddhist Disciples and Sudhana from the 9th Jetavana Assembly (逝多林會). The Eight Scenes from the Life of Buddha (八相圖)' is also an important icon of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉, The preaching assembly centered Rocana from 'the Buddhist Sermon in the Deer Park (鹿苑傳法相)' , which is one of 'The Eight Scenes' , appears in the painting. The scene is recorded as 'the Buddhist Sermon Avatamska sutra (說大華嚴大法)‘ in 'The Eight Scenes from the Life of Buddha' of Yongmunsa Temple (龍門寺, 1709). The scenes of preaching assembly of Rocana above is the important icon linked to 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the late period of [oseon
〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the late period of Joseon is divided into two kinds of forms according to the composition of a picture, The ones from Songgwangsa Temple, Seonamsa Temple and Ssanggyesa Temple belong to the first form, and the one from Tongdosa Temple belongs to the second form. The picture of the first form is divided into two stages of preaching in heaven at the upper side and preaching in the earth at the lower side. On the heaven the 3rd Travastrimasah Heaven Assembly (利天宮會) and the 4th Suyama Heaven Assembly (夜摩天宮會) are on the left side, and the 5th Tusita Heaven Assembly (兜率天宮會) and the 6th Parahirmitavasavartin Heaven Assembly (他化自在天宮會) are on the right side. In the earth, centered the 1st Assembly, there are the 2nd. 7th and 8th Hall of Universal Light Assembly (寶光明殿會) on the right side, and the 9th Assembly on the left side. The names of the characters are written in each Assemblies in narrative styles. By analysing the names in the description compared with the 39 works, the one from Songgwangsa Temple most substantially represents the content of the Sutra. Though the others belonging to the first form follow the preceding model. the one from Songgwangsa temple, some Assemblies are wrongly represented or omitted.
The one from Tongdosa Temple. belonging to the second form, divided a picture with Rocana symbolizing Avatamska sutra at the upper side, and Sahagrabhuja (千手觀音) and Cudi (准提觀音) symbolizing Chonsu-sutra (千手經) at the lower side. This composition reflects the exercise of monks' that combine doctrine (敎), Buddha mantra (念佛) and Son (禪) in the latter period of Joseon On the upper side, Rocana is set in the center and the 3rd, 4th, 5th and 6th Assemblies are on the right and left sides of the Rocana. In the middle of the picture, the 1st, 2nd, 7th, 8th and the 9th Assemblies are drawn, and on the middle of the lower side Suddhana and 53 kalyamitras (善知識) are drawn. Each Assembly is consisted of Buddhas, Bodhisattvas and Guardians around the preaching Bodhisattva or Buddha in the center. The essence of painting is the Hall of Universal Light Assembly, the 2nd, 7th and the 8th. It symbolizes the consubstantiality: relating to Rocana in the upper, Buddha, the preacher of the 7th Assembly, appears as Rocana to preach Avatamska sutra, and with attending Manjusri of the 2nd Assembly on the right side and Samanthabhadra of the 8th Assembly on the left side Buddha and Rocana are completed to Dharma-kaya,
〈The Lotus world Paintings of Dharmadhata〉 expresses the paradise of Rocana explained in the 80 Avatamska sutra, Though the painting was a part of 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 in the latter half of the 18th century, it is produced as an independent buddhist painting in the latter half of the 19th century. The model for the painting in the latter period of Joseon is two kinds of frontispiece in the book explains Avatamska ideas, Whaeomhyundamwhoehyungi (華嚴玄談會玄記). The frontispieces have two kinds of construction: one is that the 20 worlds in the first volume of the work overlap one another in an inverted triangle shape. and the other is that Buddha-field (世界種) in the 1st, 2nd and 3rd volumes of the work are arranged organically in clockwise rotation.
In 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 of Songgwangsa Temple, Seonamsa Temple and Ssanggyesa Temple, the world of lotus flower is expressed by unfolding Buddha-field of the 1st, 2nd and 3rd volumes of the work of the Flower Bank World on the right and left sides. In 〈Pirowhajangjido〉 of Seoul Historical Museum two frontispieces of 〈Whaeomhyundamwhehyungi〉 is copied and arranged up and down. 〈The Lotus world Paintings of Dharmadhata〉 of Yongmunsa Temple contains the rounded the lotus world, 〈Whajangchaelheado〉 of Tongdosa Temple the round lotus world and 20 worlds are combined.
As above based on the developed Avatamska idea 〈The Painting of the Seven Locations and Nine Assemblies of Avatamska〉 and 〈The Lotus world Paintings of Dharmadhata〉 describe the story of the Avatamska sutra as reading it and reveal clearly the essence of Avatamska idea.
목차
Ⅰ. 머리말
Ⅱ. 화엄변회와 노사나불
Ⅲ. 송광사ㆍ선암사ㆍ쌍계사 화엄철처구회도
Ⅳ. 통도사 화엄칠처구회도
Ⅴ. 화엄의 연화장세계도
Ⅵ. 맺음말
ABSTRACT
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