朝鮮 地藏六光菩薩圖 圖像의 起源

• 영문명: The Origin of the Iconography of 'Ksitigarbha and the Six Light Bodhisattvas(地藏六光菩薩圖)' of Joseon
• 발행기관: 동국대학교 박물관
• 저자명: 조성금(Cho Sung kum)
• 간행물 정보: 『佛敎美術』第26號, 47~72쪽, 전체 26쪽
• 주제분류: 예술체육 > 미술
• 파일형태: PDF
• 발행일자: 2015.01.30

영문 초록

Buddhism was developed in India and has spread to Central Asia, China, and later to Korea, and various types of Buddhist culture was also introduced to those countries in the process. However, there have not been many studies on the correlation between Central Asian and Korean Buddhist paintings. This study examines the iconography of 'Ksitigarbha and the Six Light Bodhisattvas (地藏六光菩薩圖)' and its origin. This painting is the widely known Buddhist paintings of the Joseon Dynasty and was produced constantly throughout the Joseon period. Through the examination, the study reveals the correlation of the painting to Central Asian Buddhist paintings. 'Ksitigarbha and the Six Light Bodhisattvas' illustrates Ksitigarbha at the center and the three of the Six Light Bodhisattvas and guardian gods of the law of Buddha on its each side. Such iconography is unique to Buddhist paintings of Joseon, and its origin has not been found yet. 'Ksitigarbha and the Six Light Bodhisattvas,' kept in Yoda temple(與田寺) in Japan, was produced in the fifteenth century and is known as the earliest of the works that exist today. It portrays Ksitigarbha at the center, the Six Light Bodhisattvas on its sides, and the king of Wudugui(無毒鬼王) and Daoming saint(道明尊者) at the bottom. Such composition of the painting was passed on to 'Ksitigarbha and the Six Light Bodhisattvas' produced in the sixteenth century and housed in Hoshuin(寶壽院) and Nezu Museum in Japan. It can also be found in 'Ksitigarbha and the Six Light Bodhisattvas' of the eighteenth century, which is kept in Dongguk University Museum in Korea. Key Word: Joseon, Ksitigarbha, The Six Light Bodhisattvas, Foshuo yuxiu shiwang shengqijing,Transformation Painting of yuxiu shiwang shengqijing, The saint Daoming, The king of Wudugui, The Museum of Asian Art in Berlin, Turfan

목차

Ⅰ. 머리말

Ⅱ. 吐魯番 出土 <預修十王生七經變相圖>의 도상과 도상학

Ⅲ. 朝鮮 地藏六光菩薩圖의 전개 및 특징

Ⅳ. 맺음말

참고문헌

Abstract