고려불화의 미적 특질과 그 계통성

Abstract

Buddhist paintings of the Goryeo Period are distinguished by a highly artistic quality and often present a rather aristocratic manner. This reputation can be explained in terms of the gorgeous and elaborate scenes and clothing revealed in Goryeo buddhist paintings which is most likely derived from the lives of the contemporary ruling classes of Goryeo Dynasty. Such an assumption, however, threatens to undermine the obvious artistic value of Goryeo Buddhist paintings if they are presented as merely gorgeous or elaborate representations of court life, mere by-products of the ruling classes instead of the results of profound artistic activities and complex ideas. So this essay tried to overcome the mere gorgeous and elaborate character of Goryeo buddhist paintings, and newly examine the more fundamental artistic property of it as follows. The expressive style in Goryeo Buddhist painting follows two basic lineages. One was derived from Chinese precedents and the other can be traced back to nomadic cultures associated with the Goryeo aristocracy. The two lineages, quite different in style and content, did not evolve in parallel, but were rather merged into one single art work, thereby establishing an unprecedented style. As a result, many characteristics found in Goryeo Buddhist paintings such as “Amitābha Triad's reception” in Leeum Museum of Art and “Sukhāvatī tableaux” in Saifukuji (西福寺) Temple cannot be found in either Chinese or nomadic Bbuddhist art. Moreover, a comparative survey reveals that the creative iconography and the unusal perspectives are unique to these paintings. Therefore there are stylistic and elements of Goryeo Buddhist paintings far more complex and significant that simply ornate and elaborate details. Finally, these creative and unique expressions can be interpreted as representing the growth of an independent cultural identity during the Goryeo Dynasty. The people of the Goryeo Dynasty gained increasing self esteem as a result of its advantageous position in negotiations and its treatment in military situations as an equal by Chinese and nomadic empires. The increasing cultural assurance of the Goryeo Dynasty is well reflected in its literary history. Such literary materials gives further support for such an interpretation of these paintings as reflecting greater cultural independence. Apparently, it can not be denied that Goryeo buddhist paintings had an more individual and confidential aspect than Joseon buddhist paintings in ritual. But the individual and confidential conception were more generic than aristocratic one. Finally, this essay is not making an argument that the art is somehow “democratic” or “popular” as opposed to “aristocratic”. The purpose of this essay is to describe the nature of artistic expression in these paintings not as a product of luxury consumption by the aristocrats, but rather to describe how a society inspired the creation of art through intellectual discourse.