조선 후기 경상도 지역에서 제작된 觀經十六觀變相圖와 念佛禪

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 36권
ㆍ저자명 : 이용윤

영어 초록

This study examines the iconographic development and transmission, and the religious characteristics of llustrations of the Sixteen Contemplations of the Sutra of the Contemplation on the Buddha of Immeasurable Life (觀無量壽經十六觀變相圖) produced in the Gyeongsang province region during the late Joseon period.
The late 17th century Wooden Reliefs of the Nine Grades of Rebirth in the Amitabha Pure Land (木刻阿彌陀九品會圖, hereafter The Relief of the Nine Grades) from Daeseungsa temple (1675) and Yongmunsa temple (1684) are composed both Buddha Amitabha’s preaching and the nine grades of rebirth. This iconography originated from the woodblock print of The Shortcut Rebirth in the Pure Land by Encouraging to Practice the Pure Karma (勸修淨業往生捷徑圖, hereafter The Shortcut by Pure Karma) first-printed in the early Joseon period at a monastery in Bulmyeongsan mountain. The late 18th century Pure Land paintings, The Painting of the Shortcut to the Rebirth in the Pure Land by Chanting Buddha Mindfulness (念佛往生捷徑圖, 1750, hereafter The Shortcut to the Rebirth by Chanting ) at Eunhae sa temple and The Painting of the Nine Grades of Rebirth in the Land of Ultimate Bliss (極樂世界九品會圖, 1778, hereafter The Painting of the Nine Grades) from of Jikjisa temple, represented more complete illustrations of the Sixteen Contemplations than the 17th century The Reliefs of the Nine Grades. The new pictorial form and iconography have their origin in the Frontispiece of the Sutra of the Contemplation on the Buddha of Immeasurable Life of the Ming dynasty, China. The Shortcut by Chanting at Eunhae-sa incorporated the illustrations of the fourth, seventh, twelfth, and fourteenth contemplations of the Ming Frontispiece into the traditional iconography of the Illustration of the sixteen contemplations. It also introduced the iconography of the ‘Welcoming Dragon Boat’ and the new illustration of the fourteenth contemplation, ‘Upper Class and Upper Life’. The Painting of the Nine Grades of Jikjisa temple adopted the illustrations of first, fourth, seventh, eighth, ninth, tenth, eleventh, twelfth, fourteenth, fifteenth, and sixteenth comtemplation from the Ming Frontispiece and constructed a new composition of the painting.
The thriving production of The Illustrations of the Sixteen Contemplations at Gyeongsang province in the late Joseon period is related to the religious practice of a monk lineage active in the region. Soyeong Singyeong, who practiced around Gyeongsang province in the late 17th and was a disciple of Hwanjeok Uicheon from the famous Cheongheo Hyujeong is believed to have commissioned the sculptor-monks Daneung and Takmil to produce The Relief of the Nine Grades for Ssanggyesa temple in Gyeongsangnam-do modeled on The Woodblock Print of the Shortcut to the Rebirth by Pure Karma which was removed from Yeongwonsa temple to the collection of Ssanggyesa temple. Following his master’s practice of mind contemplation. His practical concentration on meditation leads to assume that the Ssanggyesa temple The Relief of the Nine Grades was produced to aid the practice of chanting Buddha mindfulness while meditating (yeombul seon), which was a popular practice in the late Joseon Buddhism, as The Reliefs of the Nine Grades of Rebirth in Daeseungsa temple and Yongmunsa temple were for the practice of pure karma. The tradition of the combined practice of chanting and meditation continued through the late Joseon dynasty by means of The Universal Recommendation for Chanting Buddha Mindfulness, a well-received Pure Land writing that was re-printed four times during the 18th century in the Gyeongsang region. The reprints of the book in the region were made by Sangbong Jeongwon and his disciples, Giseong Kwaeseon and Hoeun Yugi.

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