위구르-북송-서하간의 불화 도상의 교류 ― <彌勒上生經變相圖>를 중심으로 ― = Production and exchange of Buddhist paintings between Uyghurs, Northern Songs, and Western Xia-Focusing on < A transformation painting of the Sutra of Maitreya's Ascension >

다국어 초록 (Multilingual Abstract)

This study examines < A transformation painting of the Sutra of Maitreya's Ascension >(彌勒上生經變相圖), which is portrayed in the shrine E204 in a temple known as Xidasi in Beiting, Xixia(西夏) dynasty, painted in Wanfodong(萬佛洞) in Mountain of Wenshu(文殊山), Kaihua Temple(開化寺).
This study, which examines the chronological relationship of the production period through these three Buddhist paintings, shows that Buddhist art has been constantly exchanged without being cut off in the complex international situation in which Uighur, Song, and Xixia in the 11th to 13th centuries repeated confrontation and friendship. It gave me a chance to look at it briefly.
However, unlike Buddhist art studies in Korea, where many research results have been accumulated on the relationship between Huashi(畫師) and Huayuan(畫緣), the study on Hwasa in China has not even started properly, so only the relationship between the production period and the chronological order has been dealt with.
As a result of a close examination, taking into account the accurate diagrammatic representation of the scriptures and organicity of expression, < A transformation painting of the Sutra of Maitreya's Ascension > was produced before 1096 at Xida Temple in Beiting, and a copy of this painting was handed down to the Northern Song Dynasty and displayed on the north wall of the Mahavira Hall in Kaihua Temple from 1096 to 1097. described in between. In addition, it was assumed that the replica handed down from the Northern Song to the West was produced as a print with the murals of Wanfodong, and the chronological relationship of production was presumed.
In general, an experienced and skilled painter who is fully familiar with the contents of the sutras is in charge of the first draft, and the sketch produced as a copy in accordance with the content and style is shared in the same painter relationship and reused for a long time. On the other hand, in the case of the same icon even though the base drawing is not shared, the painter goes on an expedition and produces the same or similar icon and expression technique even without the base drawing. In light of these general production methods, an examination of Xida Temple, Kaihua Temple, and Wanfodong Books showed that the originals used in actual Buddhist painting production were not handed down, but copied for other Buddhist events, and were produced by local painters or painters.