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A Study on <The Illustration of Maitreya-vyakarana-Sutra> (1294) at Myoman-ji in Japan
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일본 妙滿寺(묘만지) 소장 1294년명<彌勒下生變相圖> 연구

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Academic journal
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Journal
불교미술사학회 불교미술사학 불교미술사학 제19권 KCI Accredited Journals
Published
2015.1
Pages
101 - 141 (41page)

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A Study on <The Illustration of Maitreya-vyakarana-Sutra> (1294) at Myoman-ji in Japan
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Illustrations of Maitreya-vyakarana-Sutra describe the teaching of the sutrathat Maitreya Bodhisattva would become Buddha in the future and save peoplefrom the sufferings of the world through three preachings. There are three extant illustrations of Maitreya-vyakarana-Sutra. All of themwere created during the late Koryo Dynasty, and are kept, respectively, atMyoman-ji(妙滿寺), Chion-in(知恩院), and Shinno-in(親王院) in Japan. <TheIllustration of Maitreya-vyakarana-Sutra> at Myoman-ji, which is covered in thisstudy, were created in 1294 by Lee Seong(李晟) who served as Munhandaejo(a government office in the Koryo Dynasty). It was discovered newly duringthe investigation of art works at Myoman-ji by the Kyoto National Museum. The work at Chion-in(circa early 14th century) and that at Shinno-in(1350)are quite similar to each other in the contents of painting. However, the workat Myoman-ji is slightly different in icons from the other two. The icons in thework at Myoman-ji are largely divided into the top, the middle, and the bottomaccording to the main episodes of the sutra, and the story flows from the top tothe bottom. The top describes the scenes that Maitreya, who has becomeBuddha, is preaching under the Naga-puspa tree(龍華樹) at Hwarim-won(華林園) and people are renouncing the world by having their hair cut. The scenesin the middle show the world that has become peaceful after the advent ofMaitreya and the seven treasures of Cakravartin(轉輪聖王). In the bottom,people travel to the realm of Maitreya on the Prajna Dragon Boat(般若龍船). On the head of the Buddhist painting is written ‘Mireukyeoraehasaengjido(Painting of Descending Maitreya)’, and on the foot is written ‘Yonghwahoido (Painting of Preaching under the Naga-puspa Tree).’ These icons were createdbased on faith in Maitreya-vyakarana. In addition, its main theme is the sceneof preaching under the Naga-puspa tree among the contents of Maitreyavyakarana-Sutra. Because of a few additional records beside each painting,moreover, the icons can be interpreted specifically. The bottom of the screenhas the record that Monks Jaseon(慈船) and Heein(希忍) ordered and paid theexpenses, and Munhandaejo Lee Seong drew the painting. Because Lee Seongwas a court painter, Jaseon and Heein are believed to have been closelyrelated to the royal family. What is more, the work at Myoman-ji expresses Bodhisattva related to foodofferings and a golden treasure pagoda, which are not found in those atShinno-in(1350) and Chion-in. The configuration of the six kinds of foodofferings used in Buddhist rituals in the image of Bodhisattva suggestsemphasis on the merit and virtue of food offerings in those days. In particular,the golden treasure pagoda is believed to depict an actual golden treasurepagoda enshrined within a building of a temple or palace in those days. Thescene of the Prajna Dragon Boat expressed together on the bottom is theearliest case among extant paintings showing the icon of the Prajna DragonBoat. It has been so far believed that the Prajna Dragon Boat was related tofaith in Amitabha and appeared for the first time in the Joseon Dynasty. In thissense, the work at Myoman-ji is a valuable material showing that the icon ofthe Prajna Dragon Boat began to be painted from the Koryo Dynasty. <The Illustration of Maitreya-vyakarana-Sutra> at Myoman-ji has iconographicand stylistic characteristics that are not observed in the other extant illustrationsof Maitreya-vyakarana-Sutra. In addition, records included in the painting tellabout the year of creation, the sponsors, and the painter. This work providesmany clues to research on Buddhist paintings created in the late KoryoDynasty, and provides a base for the chronology of Buddhist paintings in thelate 13th century.

미륵하생변상도는 미륵보살이 먼 미래에 도솔천에서 閻浮提로 하생하여 華林園의 龍華樹 아래에서 성불하고 三會說法을 통해 중생들을 구제한다는 경전의 내용을 도상화 한 것이다. 현존하는 미륵하생변상도는 3점으로 모두 고려후기에 제작되었으며, 일본 妙滿寺(묘만지), 知恩院(치온인), 親王院(신노인)에 각각 소장되어 있다. 그 중 본논문에서 다룬 妙滿寺 소장 <彌勒下生變相圖>는 1294년에 문한대조 이성이 그린것으로, 2009년 京都國立博物館에서 실시한 妙滿寺 소장품 조사 중 새롭게 발견되었다. 14세기 전반으로 추정되는 知恩院 소장본과 1350년명 親王院 소장본은 도상의구성이 거의 같은데 비해 妙滿寺 소장본은 이들 두 점의 도상과 차이를 보인다. 妙滿寺 소장본의 도상은 경전의 주요내용에 따라 크게 상단, 중단, 하단의 3단 구성이며, 전체적인 이야기의 진행은 상단에서 하단으로 전개된다. 상단에는 華林園을 배경으로 미륵이 龍華樹 아래에서 성불하고 설법하는 장면과 인물들의 체발및 출가하는 광경, 중단에는 미륵이 하생한 翅頭末城의 평화롭고 풍요로운 모습과 轉輪聖王의 七寶, 하단에는 중생들이 반야용선을 타고 미륵정토로 왕생하는장면이 묘사되었다. 이 불화는 화면 상단에 ‘彌勒如來下生之圖’, 화기란에 ‘龍華會圖’라고 적혀있어본 도상이 미륵하생신앙을 바탕으로 조성되었으며 미륵하생경전의 내용 중 용화수 아래에서 설법하는 장면을 주제로 하고 있음을 알 수 있다. 또한 각 존상과 도상 옆에는 몇 개의 旁題와 畵記가 있어 보다 구체적인 도상해석이 가능하다. 화면하단에는 1294년에 승려 慈船과 希忍이 발원 시주하고, 문한대조 李晟이 그렸다는 내용의 화기가 있는데, 왕실화원인 이성이 그림을 그린 것으로 보아 자선과 희인은 왕실과 밀접한 관련이 있는 승려일 것으로 추정된다. 또한 妙滿寺 소장본에는 親王院 소장본(1350)이나 知恩院 소장본에는 없는 공양보살과 황금보탑 도상이 표현되었는데, 불교의식 때 사용되던 六法供養의 공양물을 보살에 대입해 공양보살의 모습으로 표현한 것은 공양의 공덕을 강조한 것으로 생각되며, 특히 황금보탑은 당시 사찰이나 궁궐의 전각 내에 실제로 안치하고 예경했던 황금보탑을 그린 것으로 추정된다. 이와 함께 하단에 표현된 반야용선 장면은 현존하는 반야용선 도상 중 가장 이른 시기의 것으로서, 이전까지 반야용선이 아미타정토신앙과 관련해서 조선시대에 처음 나타났다고 알려졌던 것과달리 이미 고려시대부터 있어왔음을 알게 해주는 귀중한 자료이다. 妙滿寺 소장 <彌勒下生變相圖>는 기존의 미륵하생변상도에서는 볼 수 없었던도상 및 양식적 특징 뿐 아니라 방제와 화기를 통해서 불화의 제작연대와 발원시주자 및 화가에 대해서도 살펴볼 수 있다는 점에서 고려후기 불화 연구에 많은단서를 제공하며 13세기후반 불화의 편년에 기준이 되는 중요한 작품이라고 할수 있다.
#고려불화 #高麗佛畵) #미륵하생경변상도 #彌勒下生經變相圖) #일본 묘만지 #日本 妙滿寺) #이성 #李晟) #반야용선 #般若龍船) #Goryeo Buddhist Paintings #The Illustration of Maitreya-vyakarana-Sutra #Myoman-ji #Lee Seong #Prajna Dragon Boat

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