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- P-ISSN 2671-8197
- E-ISSN 2733-936X
- KOREAN
- P-ISSN2671-8197
- E-ISSN2733-936X
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A Norm of the Paintings of Shakyamuni’s Preaching in the Joseon Dynasty
Korean Studies Quarterly / Korean Studies Quarterly, (P)2671-8197; (E)2733-936X
2012, v.35 no.2, pp.163-196
https://doi.org/10.25024/ksq.35.2.201206.163
KWANGHEE,
S.
(2012). A Norm of the Paintings of Shakyamuni’s Preaching in the Joseon Dynasty. , 35(2), 163-196, https://doi.org/10.25024/ksq.35.2.201206.163
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Abstract
The Shakyamuni’s Preaching in Sitennoji Temple of Japan is a type of Vulture Peak Assembly which is composed of Shakyamuni Buddha, the main deity, six bodhisattvas, the Ten disciples, Indra and Brahma, the Four Guardian Kings, the Eight Classes of Supernatural Beings. This paintings was commissioned by six public people including Ko Sehan and painted three monk painters including the monk Unmun in 1587 of the reign of the King Seonjo. This Shakyamuni’s Preaching is the largest paintings among the extant paintings of the first half of the Joseon Dynasty and used the red and green as main colors, blue and white as additional color, and gold pigment, and the harmony of the coloring and the techniques are very delicate and refined. We cannot exactly know the temple and the region which this painting of the Shakyamuni’s Preaching was enshrined because there is no infor-mation in the record on the painting. Nevertheless, the features of the coloring and face of the figures in this painting reveal that this painting may come from Jolla and Chungcheong Province comparing this with another paintings with the record about the region in the 16-17 century of the Joseon. Today there remain only the painting of Shakyamuni’s Preaching of the Joseon Dynasty in Korea. Shakyamuni’s Preaching was flourished from the middle of the 16 century of Joseon and in the early time, this paintings was mainly composed of the Shakyamuni Buddha, bodhisattvas, and the disciples. By the way, as the time went by, the Guardians such as the Four Guardian Kings, the Eight Classes of Supernatural Beings, Indra and Brahma were added. Among the paintings of this type, the composition and position of the figures on the Shakyamuni’s Preaching in Sitennoji of Japan was different from the previous paintings. The main figures such as the Shakyamuni Buddha, the main attendant bodhisattvas such as Manjusuri and Samatabhadra, and the main disciples such as Mahagasubpa and Ananda were emphasized. And the iconography of this paintings became the one of the good norm of the paintings of the late Joseon, although the composition of the figures was influenced on the previous paintings. Therefore, we can confirm that the Buddhist paintings made in the first half of the Joseon including the paintings in Sitennoji Temple of Japan are very important to study the tendency of the Buddhist paintings of the Joseon period.
- keywords
- 朝鮮時代(the Joseon Dynasty), 朝鮮前期(the first half of the Joseon Dynasty), 釋迦說法圖(the painting of the Shakyamuni’s Preaching), 日本 四天王寺(Sitennoji Temple of Japan), 奉安處(the hall and the region), 圖像(Iconography), 範本(Norm), the Joseon Dynasty, the first half of the Joseon Dynasty, the painting of the Shakyamuni’s Preaching, Sitennoji Temple of Japan, the hall and the region, Iconography, Norm
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