日本 아이치 현(愛知縣) 지역 조선시대 전기 불화의 조사 연구

서지정보

· 발행기관 : 한국미술연구소
· 수록지 정보 : 美術史論壇 / 33권
· 저자명 : 정우택

영어초록

There are 6 Buddhist paintings of the Goryeo dynasty and 11 Buddhist paintings of the early Joseon dynasty in the Aichi area of Japan, including the Gifu and Mie-prefecture that are closed to. Among them, particularly the paintings of early Joseon are greatly important to learn the iconography and the style of Korean Buddhist paintings.
Aichi region is the birthplace of powerful rulers of the Muromachi and Edo period of Japan such as Tokugawa Ieyasu and Toyotomi Hideyoshi, and where Buddhism was prosperous, so hundreds of temples still remain today. Furthermore there are many Korean Buddhist arts moved from Korean peninsula. In spite of these facts, the Korean Buddhist arts inclusive of the paintings in this region were not studied at all, and the researchers had to rely only on a few pictures.
It can be said that Buddhist paintings of the early Joseon dynasty in Aichi of Japan are abundant in quantity, but most of these paintings are good examples to understand the trend of Joseon period such as Avalokitesvara and Ksitigarbha in Anain(阿名院) following a tradition of Goryeo dynasty, and Six Buddhas Assembly in Sairai-ji(西來寺) and Tejaprabha Buddha’s Preaching in Hoshoin(寶珠院) with the identity of Joseon. These paintings with new identical types and styles were succeeded to the 17th and 18th century, and became the norms of the Buddhist paintings of the late Joseon dynasty.
The Buddhist paintings of the Aichi region clarified a fact that the quality and material of the paintings were very different, according to the class of those who commissioned the paintings. For example, Bhaishajyaguru Buddha Triad in the Tokugawa Museum, patronized by the royal court, was drawn in golden line on silk and the composition and the appearance of the deities are balanced. However, Shakyamuni Buddha’s Preaching in Shoujoo-ji(正宗寺) supported by the public, was drawn in yellow or white pigment line on hemp, and the expression of the deities was ambiguous. These differences by the class of those who patronized the paintings were also apparent in colored Buddhist paintings such as Six Buddhas Assemnly in Sairai-ji temple, and Ksitigarbha and the Ten Kings of Hell in Nanachu-dera(七寺). However, Shakyamuni Buddha’s Preaching in Kosho-ji(興正寺) was drawn on hemp like the paintings that were supported by the publics, but its quality is excellent and gold was used to draw it like the paintings patronized by the royal family. Therefore we can guess that the style of paintings can’t be distinguished by merely class of the patron.
In conclusion, the Buddhist paintings of the early Joseon dynasty in Aichi area of Japan not only play a great role to understand the two tendencies of that period, succession of the Goryeo tradition and application of new trend of early Joseon, but also give a critical key to find out the norm of Buddhist paintings of the late Joseon.

참고자료

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