Utilization of the Iconography of Buddhist Prints during the Joseon Dynasty—Focusing on “the Listener” in Sakyamuni Preaching Paintings
This paper focuses on the iconography of “the Listener” in Buddhist prints that was adopted in Joseon dynasty Sakyamuni Preaching paintings. Regarding change in the Listener iconography from bodhisattva form to monk form, diverse research has been conducted on the Listener’s identity and origin. How...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
MDPI
2021
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| In: |
Religions
Year: 2021, Volume: 12, Issue: 5 |
| Further subjects: | B
Joseon Dynasty
B Gapsa Temple 岬寺 B Gyeonseongam Hermitage 見性庵 B Yeongsusa Temple 靈水寺 B Sakyamuni Preaching B the Listener B Gongsanbonsa Temple 公山本寺 B Lotus Sutra B Buddhist prints B Myeongok 明玉 |
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Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This paper focuses on the iconography of “the Listener” in Buddhist prints that was adopted in Joseon dynasty Sakyamuni Preaching paintings. Regarding change in the Listener iconography from bodhisattva form to monk form, diverse research has been conducted on the Listener’s identity and origin. However, existing studies are limited as they fail to consider the circumstances of the time this iconography was first adopted and trends in Joseon Buddhism. As the first Joseon print where the Listener in bodhisattva form appeared was based on a print from the Chinese Ming dynasty, and considering trends in publication of Buddhist prints in China where pictures of the Buddha preaching were used repeatedly in sutras regardless of the contents, this paper argues that the Listener should not be identified with any particular figure and examines the current state and characteristics of Joseon Buddhist paintings where the Listener appears. It also explores the possibility that the Listener’s change from bodhisattva form to monk form was driven by monk artists such as Myeongok, who were exposed to diverse iconography as they participated in creating both Buddhist paintings and prints in a situation where monks who had received systematic education gained a new awareness of iconography. | ||
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