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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제40호
- 발행연도
- 2021.6
- 수록면
- 275 - 305 (31page)
- DOI
- 10.52799/JAH.2021.06.40.275
이용수
초록· 키워드
오류제보하기
Gyeongtapdo, (經塔圖, Scripture-Pagoda-Painting) is a Buddhist painting depicting the shape of a pagoda with the text of Buddhist scriptures. It has the same religious purpose as building a pagoda and enshrining sari (舍利) inside it. China first produced Gyeongtapdo painting during the Tang Dynasty(618~907), and the oldest work was “The Heart Sutra Pagoda Painting,” discovered in Dunhuang. It features a five-story pagoda with dense eaves (密檐塔) built on a square base in the words of The Heart Sutra. Because the shape of this pagoda imitates that of the central Asian region, it could be seen that the form of the early scripture-pagoda was not modeled on the traditional Chinese wooden pagoda.
After the Song Dynasty(960~1127), the typical shape of a Gyeongtapdo was a wooden pagoda with a seven-story pavilion. The formative method of Gyeongtapdo is divided into two. One is to complete the shape of the pagoda by writing the scriptures one after another. The other is to write the scriptures by expressing the outline of the pagoda with lines and dividing it into rows or columns. The first method was the one that inherits the traditions of sagyeong (寫經, copying the Buddhist scriptures) since the Tang Dynasty. The latter method was presumed to be influenced by the printed version of Gyeongtapdo, which emerged as the Song Dynasty’s engraving technology and printing technique developed. The engraving style of Gyeongtapdo also affected the production of the scripture copying-type Gyeongtapdo, and the method of first drawing the shape of the pagoda with a line and then copying the scriptures was generalized.
In Korea, a delegate who went to Qing in the middle of the 19th century obtained and passed down the “Diamond Sutra Pagoda Painting” written by Tung Chi-chang (董其昌, 1555~1636). It was newly engraved and published in Mangwolsa in Uijeongbu in 1871. “Diamond Sutra Pagoda Painting” of Mangwolsa shows a typical scripture-pagoda style since the Song Dynasty by sculpting a seven-story pavilion-style wooden pagoda with lines and then dividing the inner space to engrave the scripture. Two years after Mangwolsa’s “Diamond Sutra Pagoda Painting” was made, unique Gyeongtapdo paintings with abstract shapes such as “Avatamsaka Sutra Pagoda Painting,” “Amitabha Sutra Pagoda Painting,” and “Avalokiteshvara Sutra Pagoda Painting” were created in Hwagyesa in Jeongneung, Seoul. These Gyeongtapdo paintings were one of the Buddhist projects carried out by lay practitioners such as Seongwol and Bowon who made Mangwolsa’s “Diamond Sutra Pagoda Painting” and organized Yeombulgyeolsa (念佛結社, Faith Association of Recitation Amitabha) called Myoryonsa (妙蓮社). Hwagyesa’s Gyeongtapdo paintings have a great value in Buddhist cultural history and art history because they have been newly reformed from the typical Gyeongtapdo of China.
After the Song Dynasty(960~1127), the typical shape of a Gyeongtapdo was a wooden pagoda with a seven-story pavilion. The formative method of Gyeongtapdo is divided into two. One is to complete the shape of the pagoda by writing the scriptures one after another. The other is to write the scriptures by expressing the outline of the pagoda with lines and dividing it into rows or columns. The first method was the one that inherits the traditions of sagyeong (寫經, copying the Buddhist scriptures) since the Tang Dynasty. The latter method was presumed to be influenced by the printed version of Gyeongtapdo, which emerged as the Song Dynasty’s engraving technology and printing technique developed. The engraving style of Gyeongtapdo also affected the production of the scripture copying-type Gyeongtapdo, and the method of first drawing the shape of the pagoda with a line and then copying the scriptures was generalized.
In Korea, a delegate who went to Qing in the middle of the 19th century obtained and passed down the “Diamond Sutra Pagoda Painting” written by Tung Chi-chang (董其昌, 1555~1636). It was newly engraved and published in Mangwolsa in Uijeongbu in 1871. “Diamond Sutra Pagoda Painting” of Mangwolsa shows a typical scripture-pagoda style since the Song Dynasty by sculpting a seven-story pavilion-style wooden pagoda with lines and then dividing the inner space to engrave the scripture. Two years after Mangwolsa’s “Diamond Sutra Pagoda Painting” was made, unique Gyeongtapdo paintings with abstract shapes such as “Avatamsaka Sutra Pagoda Painting,” “Amitabha Sutra Pagoda Painting,” and “Avalokiteshvara Sutra Pagoda Painting” were created in Hwagyesa in Jeongneung, Seoul. These Gyeongtapdo paintings were one of the Buddhist projects carried out by lay practitioners such as Seongwol and Bowon who made Mangwolsa’s “Diamond Sutra Pagoda Painting” and organized Yeombulgyeolsa (念佛結社, Faith Association of Recitation Amitabha) called Myoryonsa (妙蓮社). Hwagyesa’s Gyeongtapdo paintings have a great value in Buddhist cultural history and art history because they have been newly reformed from the typical Gyeongtapdo of China.
목차
Ⅰ. 머리말
Ⅱ. 조탑의 공덕과 법사리 신앙
Ⅲ. 중국 경탑도의 전개와 조형적 특징
Ⅳ. 중국 경탑도의 전래와 조선 말 경탑도의 조성
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (55)
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