금산사 大寂光殿 五如來 圖像의 淵源과 傳統

Abstract

This paper aims to prove the origin and tradition of the Oyeorae 五 如來(Five-Buddha) combination enshrined in Daejeokkwangjeon Hall Geumsansa Temple, Gimje, North Jeolla Province. Since the Oyeorae 五 如來 in five sculptures and five paintings as one set in Daejeokkwangjeon Hall is an unique example remaining, comparative analysis was only possible by selecting similar examples in existing Buddhist Painting of Joseon Dynasty. Whether this kind of combination of five-Buddha existed beforehand or not? Are there any comparable figurative artworks? Is this phenomenon arose just by simply placing the figures together due to the lack of shrine after the war? Was it the result of the religious demands of the time period? Many questions arise. In the study, I sought to establish a academic foundation for such questions. The first example of multiple combination of Buddha images can be found in the <Obuljondo 五佛尊圖> of the early Joseon Dynasty (15th century estimated) in which I explored how Three-Buddha (三佛: Sakyamuni · Amitābha · Bhaisajyaguru) and Trikaya(三身佛: Dh armakāya · Sambhogakāya ·Nirmān·akāya) achieved formalistic integration. Following this first masterpiece, in Gwaebul paintings of late Joseon period such as <Obulhoedo 五佛會圖>(1628) of Chiljangsa temple of Gyeonggi province and <Yeongsanhoesangdo 靈山會上圖> (1745) of Buseoksa temple of Gyeongbuk province, combination of five-Buddha can be found. And through the unified images of five-Buddha of these examples suggested we could confirm the continuation of the integrated tradition of the Buddhist body. Through the above verification, it can be concluded that the Oyeorae 五如來 in five sculptures and five paintings as one set in Daejeokkwangjeon Hall is such an unique example of the existence and is a truly valuable sample that shows how the convergence tradition was continued and accepted as the majestic figure decorating the main shrine of the temple.