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- 저자 : 조수연 ( Suyoun Jo ) (검색결과 1 건)
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조수연 ( Suyoun Jo ) 한국불교미술사학회 2015 강좌미술사 Vol.45 No.-
This study examined the characteristic expression of the moon in six water-moon Avalokiteshvara paintings from the Koryo Dynasty, and discussed the background and date related to how the icon of the moon was developed. The early icons of water-moon Avalokiteshvara paintings are found in the paintings created in around 10th century excavated from Dunhuang, and besides, the characteristics of early icons are mentioned in ancient literature such as the title of poem Hwasuwolbosalchan (畵水月菩薩贊) in Volume 39 of Baek Geo-yeok’s (白居易; 772~846) Baekgeoyeokjip (白居易集), and the Articles of the Seunggwang-sa Temple (勝光寺條) in Volume 3 Giryanggyeongoejusagwanseobyeok (記兩京 外州寺觀書壁) (written by Jang Eon-won (張彦遠) in 847) of Yeokdaemyeonghwagi (歷代名畵記). However, it was hard to find the origin of the moon icons of water-moon Avalokiteshvara paintings in such early icons and records. With regard to this, some researchers interpreted the large circle of light surrounding the Bodhisattva as the moon, but according to several works and records extant, it was considered appropriate to interpret it as vali-cakra (身光) rather than as an expression of the moon. The icon of the moon, which was not found in the water-moon Avalokiteshvara paintings excavated early from Dunhuang, began to appear in Avalokiteshvara paintings in addition to water-moon Avalokiteshvara paintings created in the 8th century, and it is also seen in the watermoon Avalokiteshvara painting in the 2nd cave of the Yulin Grottoes from the Western Xia Dynasty in the 12th century(on the northern side of the western wall of the main hall). However, it is different from the expression of the moon observed in water-moon Avalokiteshvara paintings from Koryo Dynasty, and is hardly visible in other water-moon Avalokiteshvara paintings. The expression of the moon in the six water-moon Avalokiteshvara paintings from the Koryo Dynasty is divided largely into two types. One is the expression of a full moon or a crescent drawn with gold powder (金彩) and gold line (金線), and the other is the expression of a full moon with inside a rabbit pounding rice in a mortar under a cinnamon tree. The icons with a rabbit are quite similar with one another, but each of them shows a slight difference in expression and exposes the painter’s character. In addition, the moons with a rabbit are not the usual white moon but are expressed as a red moon, and this characteristic is observed not only in the watermoon Avalokiteshvara paintings but also in other Buddhist paintings in the Koryo Dynasty. In addition, this study examined the icons of the water-moon Avalokiteshvara paintings, focusing on the works whose date of creation is known, and at the same time, compared other Koryo Buddhist paintings of different themes that expressed the moon characteristically with the water-moon Avalokiteshvara paintings expressing the moon. According to the results, the moon icon is believed to have been added after the style of water-moon Avalokiteshvara paintings was established. What is more, considering the changes of icon in some 40 water-moon Avalokiteshvara paintings, it is estimated that the expression of the moon was added in 1323 at earliest and in around 1350. The rabbit icon in the moon was an influence of folk beliefs in the Han Dynasty of China, but it is highly likely that the characteristic icon of the moon was developed under the influence of Kokuryo mural paintings in the line of Pyeongyang, which established its own icons. This also suggests that the icon was settled as a folk belief in the Koryo society until it influenced Buddhist paintings created afterwards.
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