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申銀齊(Sin Eunje) 미술사연구회 2020 미술사연구 Vol.- No.38
In the 14th century, many prints were made from the woodblocks of the Goryeo Tripitaka and enshrined in temples. This practice can be confirmed both through written records and through extant printed copies of the Tripitaka. The large number of prints made was due to the fact that spreading Buddhist writings was considered a pious act. Printed copies of the Tripitaka were enshrined in temples, sometimes in a new, purpose-built building known as a daejangjeon and sometimes in an existing sanctum to next to a Buddha statue. Prayers offered by those commissioning Tripitaka prints were either handwritten in ink on the prints or produced as separate postscripts and added to the end of the sutra. Such written prayers also include the background to the printing of the sutra; in the case of ink inscriptions, prints were often commissioned by specific families, while prints with added postscripts were often commissioned by large groups of officials. Postscripts added to Tripitaka prints contained prayers for the happiness of King Gongmin in the afterlife, or for the wellbeing of the country and the people. Tripitaka prints required huge amounts of money and labor, so that such an undertaking was beyond the means of individual officials or those without considerable wealth. Only the king or the state was able to print the entire Tripitaka. A handwritten prayer by Choe Mun-do, for example, describes the print as „the whole Tripitaka, but the content that Choe had printed is thought to actually be some 600 volumes of the Prajñāpāramitā Sutra.
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