新興寺 佛殿莊嚴 壁畵考 = A Study on Mural Painting of Grandeur Buddhist Hall in Sinheung Temple

다국어 초록 (Multilingual Abstract)

The point of grandeur buddhist hall is to realize the buddhist land in the real world. To decorate the inside and outside of the hall by coloring or drawing is the most typical method. In that way, the extensive mural paintings in Yangsan Sinheung Temple Daegwangjeon(梁山 新興寺 大光殿) rebuilt in 1657 have magnificent beauty. The mural paintings of the east-west wall and the back of the wall behind Buddha are bigger in scale than any other mural painting in temple of Joseon Dynasty. Besides, the painting is recognized importance as an example that was created in the late Joseon Dynasty.
Moreover, the paintings in the hall are comprised of the three world buddhas which are the painting of Mt.Grdhrakuta Assembly(靈山會上圖) of the north, the painting of Bhaisajyaguru triad(藥師三尊圖) of the east wall, and the painting of Amitabha triad(阿彌陀三尊圖) of the wast wall in the Daegwangjeon has the major significance that the painting has given body to characters of cardinal points of each icon in three dimensions which cannot be expressed in the normal buddhist painting composed of the three world buddhas.
Especially, the outline drawings(草本) for the triad painting was verified by the form of accompanying paper(別紙化形式) which is painted each different drawing paper in accordance with an analysis about placement of the principal icon and the bodhisattvas on the painting of Bhaisajyaguru triad and Amitabha triad. The mural painting of triad in Sinheung temple is a good example of understanding how to use the outline drawing of Amitabha triad for making the other Bhaisajyaguru triad.
Furthermore, in the Joseon Dynasty, the reason of producing the huge mural painting of Avalokitesvara Bodhisattva(觀音壁畵) in the back of the wall behind Buddha and making the mural painting of Avalokitesvara Bodhisattva with the black background as the case of Sinheung Temple Daegwangjeon counts as it might be organically linked with each other. The back of the wall behind Buddha by the narrowest and shadowly space in the hall is reminiscent of the image of dark or deep cave. And the black background of the mural painting can be understood as the visual equipment for Avalokitesvara Bodhisattva cave or dark cave.

목차 (Table of Contents)

• I. 머리말
• Ⅱ. 대광전 벽화의 구성과 특징
• Ⅲ. 대광전 동서벽 여래삼존도 草本의 原型과 轉用
• Ⅳ. 대광전 후불벽 뒷면 관음벽화의 상징성
• Ⅴ. 맺음말
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 문화재청, "한국의 사찰문화재: 부산광역시/울산광역시/경상남도 Ⅲ" 2010

2 김수현, "조선시대 관음도상과 신앙 연구" 동국대학교 대학원 2006

3 김미경, "양산 신흥사 대광전의 관음보살 벽화 고찰, In 신흥사 대광전 벽화모사 보고서" 2010

4 문화재청, "양산 신흥사 대광전 정밀실측보고서" 2012

5 문화재관리국, "신흥사대광전수리보고서" 1994

6 신흥사, "신흥사 대광전 벽화모사 보고서" 2010

7 경상남도 양산시 경주대학교 부설 문화재연구소, "신흥사 대광전 벽화 보존처리 보고서" 2002

8 양산시 신흥사 성보보전연구소, "신흥사 대광전 벽화 보존처리 보고서" 2013

9 문명대, "신흥사 大光殿 壁畵의 考察" 193 : 1992

10 국립문화재연구소, "건축문화재 해체수리 자료집: 사찰편" 2010

11 장충식, "無爲寺壁畵白衣觀音考 畵記와 墨書偈讚을 중심으로" 4 : 2001

12 김미경, "朝鮮後期 觀音菩薩圖 硏究" 동아대학교 대학원 2014

13 "新增東國輿地勝覽"

14 "三才圖會"

15 "三國遺事"

16 李康根, "17세기 佛殿의 장엄에 관한 연구" 東國大學校 大學院 1995