조선시대 감로탱화 하단(下段) ‘죽음도상’ 유형연구 (Study of the Types of ‘Death Iconography’ at the Lower Part of Gamno Taenghwa in the Chosŏn dynasty)

서지정보

· 발행기관 : 온지학회
· 수록지 정보 : 온지논총 / 61호 / 221 ~ 268페이지
· 저자명 : 박미례

초록

감로탱화는 불교 의식 중 수륙재나 49재 등 천도재에 필요한 사찰법당 하단(下段)의 영단(靈壇)에 거는 의식용 불화이다. 감로탱화의 전체 화면 구성은 상단(上段), 중단(中段), 하단(下段)으로 나누어지며 본고에서는 천도대상이 되는 하단(下段)에 나타나는 무주고혼(無主孤魂)’의 ‘죽음도상’에 주목한다. 하단의 ‘죽음도상’ 유형 연구를 고찰하기 위해 Ⅱ 장에서는 감로탱화의 도상구성에 대해서 살펴보았고 Ⅲ 장에서는 조선시대 16세기부터 20세기 초까지의 감로탱화 66여점에 등장하는 ‘죽음도상’ 유형을 종류별로 묶어 소의경전, 수륙의식문과 연관하여 시대별 특성을 고찰하였으며 Ⅳ장에서는 수륙의식문과 감로탱화의 전거(典據) 관련성에 대해 알아보았다.
조선시대 감로탱화는 수륙재의 소의경전인 『盂蘭盆經』 『目蓮經』 『妙法蓮華經』 『地藏菩薩本願經』 『父母恩重經』 등의 경전류(經典類)와 수륙재(水陸齋)의 이론적 원류가 되는 『瑜伽集要焰口施食儀』 『瑜伽集要口阿難陀羅尼焰口集儀經』 『佛說救護燄口餓鬼陀羅尼經』 『佛說面燃餓鬼神呪呪經』 등과 같은 密敎類 경전들이 복합적으로 관련되어 있으며 본 연구에서 주목하는 하단 ‘죽음도상’의 여러 유형들은 『妙法蓮華經』 「觀世音菩薩普門品」게송과 수륙의식문인 『法界聖凡水陸勝會水陸儀軌』, 『天地冥陽水陸齋義纂要』와 연관성이 매우 깊다는 것을 알 수 있었다.
조선시대 감로탱화 ‘죽음도상’ 유형은 16~17세기 수륙의식문이 활발히 간행⋅보급되면서 하단(下段) ‘죽음도상’ 유형에 많은 영향을 미쳤음을 알 수 있다. 감로탱화가 그려지는 초기인 16~17세기에는 ‘죽음도상’ 유형이 다양하지 않지만 18세기는 방제(傍題)가 본격적으로 기록되기 시작하고 수륙의식문에 근거한 풍속과 재난구재 장면들이 등장하면서 ‘죽음도상’ 유형도 많은 변화양상을 보이며 정형화를 이룬다. 19~20세기 초에는 ‘죽음도상’ 유형이 형식적으로 흘러 방제가 중복되거나 재현되는 특징을 보인다.

영어초록

Gamno Taenghwa (a Buddhist painting of Buddha giving a sermon, 甘露幀畵) is a ceremonial feud that hangs on the lower altar of the temple court. The painting is used for “Suryukjae (Celebration of the lonely spirits and hungry ghosts both in water and on the land, 水陸齋)” or the “49th-day ceremony” which is needed for Cheondojae (Consolation ceremony for the spirit of the dead) among Buddhist rituals. The composition of Gamno Taenghwa consists of three stages (upper/middle/lower). In this paper, I will focus on the forlorn wandering spirit’s “death” iconography that appeared in the bottom part. Those forlorn wandering spirits are the subjects of the prayers.
In order to research deeply regarding the type of “death” iconography in this study, in chapter II, I will take a close look at the composition of the iconographys in Gamno Taenghwa. In chapter III, I will classify sixty-six pieces of the death images on Gamno Taenghwa from the 16th century (the Chosŏn dynasty) to the early 20th century (the Japnese colonial period). The types of “death” iconography were grouped by type, and the characteristics of each period were examined in relation to "Soyuigyeongjun (The main text of Buddhist schools),” and “Suryukjaeyuisikmoon (Ceremony of Suryukjae).” In chapter IV, I will demonstrate the relationship between Suryukjaeyuisikmoon (Ceremony of Suryukjae) and the authority of Gamno Taenghwa.
"Gamno Taenghwa (a Buddhist painting of Buddha giving a sermon, 甘露幀畵 )” in the Chosŏn dynasty is influenced by Soyuigyeongjun of Suryukjae and esoteric Buddhist scriptures (密敎類), which theoretically become origins of "Suryukjae (Celebration of the lonely spirits and hungry ghosts both in water and on the land, 水陸齋 )." Soyuigyeongjun of Suryukjae includes "Uranbun-gyeong (Ullambana Sutra, 盂蘭盆經)," "Mokryeon-gyeong (Moggallana Sutra, 目連經)," "Myobeop Yeonhwagyeong (The Saddharmapundarika Sutra, 妙法蓮華經)," "Jijang Bonweongyeong (The Sutra of the Original Vow of Ksitigarbha Bodhisattva, 地藏菩薩本願經),"and "Bumoeunjung-gyeong (Sutra of Filial Piety, 父母恩重經)." Also, esoteric Buddhist scriptures (密敎類) include "Yugajibyoyeomgusisikyui (瑜伽集要焰口施食儀)," "Yugajibyoguanandaraniyeomgujibyuigyeong (瑜伽集要口阿難陀羅尼焰口集儀經)," "Bulsulguhoyeomguaguishinjugyeong (佛說救護燄口餓鬼陀羅尼經)," and "Bulgumyunyeonaguishinjugyeong (佛說面燃餓鬼神呪呪經)." Lastly, I will highlight the “death” iconography in the bottom part of Gamno Taenghwa. Strikingly, the various types of death images are closely related to Buddhist songs such as “Myobeobyeonhwa-gyeong (Lotus Sutra, 妙法蓮華經),” “GwanseumbosalBomunpum (the teaching of Guanyin Bodhisattva, 觀世音菩薩普門品)” and "Chunjimyungyangsuryukjabmoon (An edition of a Buddhist ceremony published in 1581, 天地冥陽水陸雜文),” "Bubgyesungbumsuryukseunghuisujae- yuigyue(法界聖凡水陸勝會修齋儀軌)" which are parts of "Suryukjaeyuisikmoon (Ceremony of Suryukjae)." The type of “death” iconography of Gamno Taenghwa in the Chosŏn dynasty is influenced by Suryukjaeyuisikmoon which was actively published and distributed in the 16th and 17th centuries. When Gamno Taenghwa first emerged in the early 16th and 17th centuries, the type of “death” iconography was a small number of forms. In the 18th century, when the captions for the cause of death started to be recorded and scenes illustrating customs and jeopardy based on the ritual book appeared, the “death” iconography went through changes and eventually became standardized. During the 19th and early 20th centuries, the captions for the cause of death were repeated or replicated through the formalization of the death iconography.

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