조선 전기 불교회화에 보이는 ‘接引龍船’ 도상의 淵源 (Iconographic Source of the Salvific Dragon Boat Seen in Buddhist Paintings of the Early Joseon Dynasty (1392~1592))

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 25호 / 275 ~ 308페이지
· 저자명 : 최경원

초록

This article examines the iconographic source of the salvific dragon boat seen in Buddhist paintings of the early Joseon dynasty. The salvific dragon boat is a dragonheaded boat on which Buddha Amita"Pbha receives and leads (jeobin 接引) [welcomes and delivers] the deceased to his Western Paradise. The salvific boat is a metaphor for Buddhist enlightenment or salvation that ferries souls of ‘this shore’ of sam. sa"Pra to ‘the other shore’ of Buddhist Pure Lands. This salvific boat takes the shape of a dragon boat in Buddhist literature and paintings of the early Joseon period, whose textual and iconographic sources or cultic background have not yet been traced to those of other cultures. This article attempts to understand the background of the incorporation of the dragon boat as a Buddhist salvific boat from the perspective of the development of its iconography.
The main body of this article is divided into three parts: the first part discusses the definition of the term ‘jeobin’ that accompanies the salvific dragon boat in Korean Buddhist literature and paintings and that is thus the most important concept for its iconography. It also examines the salvific boat for ‘jeobin’ expounded in Buddhist scriptures. The second part identifies the textual and iconographic examples of the ‘jeobin’ dragon boat in the early Joseon Buddhist literature and paintings, and draws its iconographic charateristics.
The third part pursues the iconographic analogies of the dragon boats in the wider sphere of East Asian secular and religious culture. In the first section, it identifies iconographic characteristics of the dragon boats shared by early Joseon paintings: The Illustration of he Sixteen Contemplations in Ho"Prinji 法輪寺, Nara, dated to the fifteenth century, The Painting of King Sala Tree (1576) in the collection of the Seizan bunko 青山文庫, Ko"Pchi-ken 高知県, The Assembly for Welcoming the Dragon Boat of the Nine Grades of Rebirth in the Western Paradise (1582) in Raigo"Pji 来迎寺, Kagawa-ken 香川県, Japan, and The Dragon Boat that is the frontispiece of the Amita칋ha Sutra woodblock-printed in 1577 at Yongcheonsa 龍泉寺, Jeollanam-do, Korea. Second section discusses the closest iconographic analogy of Korean salvific dragon boats found in the dragon boats used for musical and dancing performances on ponds in Japanese emaki paintings that documented the lavish lives of the Heian (794~1185) aristocracy, such as The Illustrated Handscroll of the Imperial Horse Race in the collection of the Kuboso"P 久保惣 Memorial Museum, O"P saka, and The Illustrated Handscroll of the Diary of Murasaki Shikibu. In these boat entertainments of the Heian period, the dragon boat is always seen paired with another boat with a bow of an imaginary water-bird called geki 鷁 (C. yi, K. ik). This pair of boats was called the “boats with the dragon and geki-bird heads” (龍頭鷁首舟). The popularity of the dragon- and geki-headed boats among the Heian aristocracy was due to the exoticism of the Chinese Tang culture of the period, thus the boats are believed to have been imported from Tang China.
Next the discussion proceeds to this pair of the dragon- and geki-headed boats also seen drifting in a Buddhist palatial setting that were used for boat entertainments in Amitabha’s Pure Land in Saizen’in 西禅院, Wakayama-ken 和歌山県, believed to have been produced on a Chinese model in the mid-twelfth century. This demonstrates that they were shared by both the secular and religious culture of medieval Japan and sets up the foothold where the iconography of the dragon boat is discussed in the Buddhist context.
The pairing of the animal-headed boats in Buddhist paradisiacal setting in an identical composition to the Saizen’in Amitabha’s Pure Land is also found in a late Goryeo painting The Descent of Maitreya (1294) in the collection of Myo"Pmanji 妙滿寺, Kyo"Pto. However, the pair of boats in this painting are all dragon boats and they are not for boat entertainments but for deliverance of the deceased to Maitreya paradise. Thus, this painting suggests that the birth and iconography of the Korean salvific dragon boat were closely related to the entertainment boats in Buddhist Pure Land paintings and that Korean salvific dragon boat possibly appropriate the iconography of Buddhist entertainment boat.
Even though the discussion presents early iconographic analogies to the Korean salvific dragon boat from Japanese art, it suggests the faith in and the depiction of the salvific dragon boat very likely originated from Chinese culture. Corroborating this suggestion is a linear engraving The Illustration of the Land of Ultimate Bliss in the Western Region (1461) on the stele of “The Record of the Renovation of Amita¯bha Monastery” in the Shanxi 陜西 Provincial Museum in Xi’an 西安, which shows the depiction of the dragon boat, though in a different iconography, where Buddha Amitabh ferries a soul into his paradise.

영어초록

This article examines the iconographic source of the salvific dragon boat seen in Buddhist paintings of the early Joseon dynasty. The salvific dragon boat is a dragonheaded boat on which Buddha Amita"Pbha receives and leads (jeobin 接引) [welcomes and delivers] the deceased to his Western Paradise. The salvific boat is a metaphor for Buddhist enlightenment or salvation that ferries souls of ‘this shore’ of sam. sa"Pra to ‘the other shore’ of Buddhist Pure Lands. This salvific boat takes the shape of a dragon boat in Buddhist literature and paintings of the early Joseon period, whose textual and iconographic sources or cultic background have not yet been traced to those of other cultures. This article attempts to understand the background of the incorporation of the dragon boat as a Buddhist salvific boat from the perspective of the development of its iconography.
The main body of this article is divided into three parts: the first part discusses the definition of the term ‘jeobin’ that accompanies the salvific dragon boat in Korean Buddhist literature and paintings and that is thus the most important concept for its iconography. It also examines the salvific boat for ‘jeobin’ expounded in Buddhist scriptures. The second part identifies the textual and iconographic examples of the ‘jeobin’ dragon boat in the early Joseon Buddhist literature and paintings, and draws its iconographic charateristics.
The third part pursues the iconographic analogies of the dragon boats in the wider sphere of East Asian secular and religious culture. In the first section, it identifies iconographic characteristics of the dragon boats shared by early Joseon paintings: The Illustration of he Sixteen Contemplations in Ho"Prinji 法輪寺, Nara, dated to the fifteenth century, The Painting of King Sala Tree (1576) in the collection of the Seizan bunko 青山文庫, Ko"Pchi-ken 高知県, The Assembly for Welcoming the Dragon Boat of the Nine Grades of Rebirth in the Western Paradise (1582) in Raigo"Pji 来迎寺, Kagawa-ken 香川県, Japan, and The Dragon Boat that is the frontispiece of the Amita칋ha Sutra woodblock-printed in 1577 at Yongcheonsa 龍泉寺, Jeollanam-do, Korea. Second section discusses the closest iconographic analogy of Korean salvific dragon boats found in the dragon boats used for musical and dancing performances on ponds in Japanese emaki paintings that documented the lavish lives of the Heian (794~1185) aristocracy, such as The Illustrated Handscroll of the Imperial Horse Race in the collection of the Kuboso"P 久保惣 Memorial Museum, O"P saka, and The Illustrated Handscroll of the Diary of Murasaki Shikibu. In these boat entertainments of the Heian period, the dragon boat is always seen paired with another boat with a bow of an imaginary water-bird called geki 鷁 (C. yi, K. ik). This pair of boats was called the “boats with the dragon and geki-bird heads” (龍頭鷁首舟). The popularity of the dragon- and geki-headed boats among the Heian aristocracy was due to the exoticism of the Chinese Tang culture of the period, thus the boats are believed to have been imported from Tang China.
Next the discussion proceeds to this pair of the dragon- and geki-headed boats also seen drifting in a Buddhist palatial setting that were used for boat entertainments in Amitabha’s Pure Land in Saizen’in 西禅院, Wakayama-ken 和歌山県, believed to have been produced on a Chinese model in the mid-twelfth century. This demonstrates that they were shared by both the secular and religious culture of medieval Japan and sets up the foothold where the iconography of the dragon boat is discussed in the Buddhist context.
The pairing of the animal-headed boats in Buddhist paradisiacal setting in an identical composition to the Saizen’in Amitabha’s Pure Land is also found in a late Goryeo painting The Descent of Maitreya (1294) in the collection of Myo"Pmanji 妙滿寺, Kyo"Pto. However, the pair of boats in this painting are all dragon boats and they are not for boat entertainments but for deliverance of the deceased to Maitreya paradise. Thus, this painting suggests that the birth and iconography of the Korean salvific dragon boat were closely related to the entertainment boats in Buddhist Pure Land paintings and that Korean salvific dragon boat possibly appropriate the iconography of Buddhist entertainment boat.
Even though the discussion presents early iconographic analogies to the Korean salvific dragon boat from Japanese art, it suggests the faith in and the depiction of the salvific dragon boat very likely originated from Chinese culture. Corroborating this suggestion is a linear engraving The Illustration of the Land of Ultimate Bliss in the Western Region (1461) on the stele of “The Record of the Renovation of Amita¯bha Monastery” in the Shanxi 陜西 Provincial Museum in Xi’an 西安, which shows the depiction of the dragon boat, though in a different iconography, where Buddha Amitabh ferries a soul into his paradise.

참고자료

· 없음