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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Goryeo`s 〈Gwangyeongseobunbyeonsangdo〉 is based on the scriptural contents in 〈the Indroduction〉of 〈the Amitayur-dhyana-Sutra〉 . Even though its subject was originated from Indian Buddhism, as it was painted in Goryeo, Goryeo`s contemporary cognitive concepts must have been contained in the painting during the production of 〈Gwangyeongseobunbyeonsangdo〉.
It clearly requires us to understand Goryeo`s 〈Gwangyeongseobunbyeonsangdo〉based on 〈the Indroduction〉 of the sutra. And, as the final process, a comprehensive review was made on the solution method of Buddhist problem concept contained in 〈the Indroduction〉.
The features of the Daeeunsa`s painting of two Goryeo`s 〈Gwangyeongseobunbyeonsangdo〉 are the setting of temporal change through the 3-leveled pyramid-type structure on the right side of the painting and the contrast between the out-of-world and the in-world separated as left and right. And, as it goes up from the bottom to the top of the painting, the setting becomes more ideally regardless of the temporal order of the event. In these respects, the elaborate calculation on the plot is emphasized as well as the sacred/profane division of the left/right.
And, in the contents, the seat of Buddha is expressed as a white lotus and Maudgalyayana is described as older than Ananda. These are very significant in that they can reflect the contemporary Buddhist culture and the understanding of early Buddhism.
Next, in case of the Seoboksa`s painting, its structure is more horizontal and square than that of Daeeunsa`s one. Most peculiar feature of Seoboksa`s painting is that each scene was explained with letters. With this, we can more accurately reach the author`s recognition for the scene that he tried to describe.
Finally, it is noteworthy in that they tried to overcome the dilemma of Wangsaseong Tragedy with the idea of Paradise rather than this world. Thus, it proposes a new solution for the problems since the early Buddhism. It expresses that, in the Buddhist world, all three persons of King Bimbis?ra, Aj?ta?atru and Lady Vaideh? could accomplish `the self transcending the distinction even in the distinction` while they did not lose the justifiability of their own.
It clearly requires us to understand Goryeo`s 〈Gwangyeongseobunbyeonsangdo〉based on 〈the Indroduction〉 of the sutra. And, as the final process, a comprehensive review was made on the solution method of Buddhist problem concept contained in 〈the Indroduction〉.
The features of the Daeeunsa`s painting of two Goryeo`s 〈Gwangyeongseobunbyeonsangdo〉 are the setting of temporal change through the 3-leveled pyramid-type structure on the right side of the painting and the contrast between the out-of-world and the in-world separated as left and right. And, as it goes up from the bottom to the top of the painting, the setting becomes more ideally regardless of the temporal order of the event. In these respects, the elaborate calculation on the plot is emphasized as well as the sacred/profane division of the left/right.
And, in the contents, the seat of Buddha is expressed as a white lotus and Maudgalyayana is described as older than Ananda. These are very significant in that they can reflect the contemporary Buddhist culture and the understanding of early Buddhism.
Next, in case of the Seoboksa`s painting, its structure is more horizontal and square than that of Daeeunsa`s one. Most peculiar feature of Seoboksa`s painting is that each scene was explained with letters. With this, we can more accurately reach the author`s recognition for the scene that he tried to describe.
Finally, it is noteworthy in that they tried to overcome the dilemma of Wangsaseong Tragedy with the idea of Paradise rather than this world. Thus, it proposes a new solution for the problems since the early Buddhism. It expresses that, in the Buddhist world, all three persons of King Bimbis?ra, Aj?ta?atru and Lady Vaideh? could accomplish `the self transcending the distinction even in the distinction` while they did not lose the justifiability of their own.
목차
Ⅰ. 서론
Ⅱ.〈觀經序分變相圖〉의 파악
Ⅲ.『觀經序分』의 딜레마와 해법
Ⅳ. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2015-200-001388093