오쿄의 장벽화제작과 구성에 관한 일고찰 (Production and Composition of the Okyo’s Sliding Door Paintings)

서지정보

· 발행기관 : 동아시아일본학회
· 수록지 정보 : 일본문화연구 / 48호 / 347 ~ 368페이지
· 저자명 : 이미림

초록

The painting of waterfall designed in a ‘Tokonoma’, a small decorated alcove in the main room of the home, creates the concept of space beyond a flat canvas as well as liveliness by connecting the sound of water and wind from an outdoor garden. This also is the case of the painting of landscape in ‘the Buddha hall in the main temple of Daizyouzi’. In other words, his paintings are more than describing the natural landscape. He tried to bridge between the natural landscape and the Goddess of Mercy Bodhisattva, which transferred an entire building as a Faith space that is likened to Fudaraku mountain. The paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ show Okyo's painting style in the his latter part of life and his creativity that is a unique way of being in his composition. Moreover Okyo tried not to show off his skill of sketching from nature in his paintings but to promote harmony with surrounding nature and buildings. This harmony brings out liveliness of his paintings and makes his paintings become a part of nature as an expansion of real space. In short, Maruyama Okyo, the one of the representative painter in the late Edo period, contrived to show what the composition of his painting was about in his mature pieces of artwork. And there is no doubt that his paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ are the excellent examples to show this.

영어초록

The painting of waterfall designed in a ‘Tokonoma’, a small decorated alcove in the main room of the home, creates the concept of space beyond a flat canvas as well as liveliness by connecting the sound of water and wind from an outdoor garden. This also is the case of the painting of landscape in ‘the Buddha hall in the main temple of Daizyouzi’. In other words, his paintings are more than describing the natural landscape. He tried to bridge between the natural landscape and the Goddess of Mercy Bodhisattva, which transferred an entire building as a Faith space that is likened to Fudaraku mountain. The paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ show Okyo's painting style in the his latter part of life and his creativity that is a unique way of being in his composition. Moreover Okyo tried not to show off his skill of sketching from nature in his paintings but to promote harmony with surrounding nature and buildings. This harmony brings out liveliness of his paintings and makes his paintings become a part of nature as an expansion of real space. In short, Maruyama Okyo, the one of the representative painter in the late Edo period, contrived to show what the composition of his painting was about in his mature pieces of artwork. And there is no doubt that his paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ are the excellent examples to show this.

참고자료

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