A Comparative Study Of Images Of Shuiyue Guanyin Between China And South Korea

Water Moon Kwan-yin is one of the Chinese Buddhist Goddess of Mercy Kwan-yin, in Buddhism she is ametaphor of the symbol. According to Zhang Yan Yuan’s "art history in mind", the legendary Water Moon Kwan-yin figured in Tang Dynasty in the late8th century by ZhouFang and soon became popular.There was no extantworks of ZhouFang,so it was hard to grasp the specific style.After the development of the Five Dynasties, Songdynasty and Yuan Dynasty, Water Moon Kwan-yin picture formed different characteristics, rich picture elementand painting skills. The mainly existing forms of Chinese Water Moon Kwan-yin now are murals, scroll paintings,scroll painting, wood carving, stone carving and gold bronze statue, they are mainly belong to the Five’sdistribution, the Song Dynasty and Western Xia. Goryeo’s Water Moon Kwan-yin were the important works in theBuddhist paintings, the existing four dozen paintings were mainly made in the hundred years of late Goryeo.Theytook a very large proportion of Buddhist paintings,and most of the works now housed in Japan. Goryeo’s WaterMoon Kwan-yin were gorgeous painting of outstanding beauty and has excellent painting interest, they wereoccupy an important position in the field of Buddhism by their notable features.The extant Water Moon Kwan-yin works of Goryeo were presented in the overseas, and it is hard to collectmore Chinese Water Moon Kwan-yin picture including documents, this make the research in this area in Korea isgreatly restricted.In this paper,the author summarized the results of previous studies, at the meantime, found outsome Chinese Water Moon Kwan-yin picture data and documentation which hardly involved in Korea. ByObserving a large number of Chinese and Korean picture, associated the feature of picture with some classicBuddhist scriptures, make a deep study in the area of analysis and comparison of picture which the previousstudies did not give enough attention. Based on more objective analysis,compared the details of the Chinese andKorean Water Moon Kwan-yin,studied the similar parts for both two to finally infer the relationships,and alsofound out the relationship with the Avatamsaka Sutra.In Korean Water Moon Kwan-yin picture,there are somecharacters that different from Chinese, we can also found some relationship with the Avatamsaka Sutra for theseparts.To summarize, by studying the Korea Water Moon Kwan-yin’s formation process,we can conclude that theywere not only directly affected by Chinese Water Moon Kwan-yin,but also affected by Avatamsaka Sutra,anddeveloped some unique characteristic.In the aspect of picture,the Goryeo’s Water Moon Kwan-yin have been more influenced by Avatamsaka Sutrain the constituent element,and more picture feature can be confirmed in Samguk Yusa.It was knew that theSamguk Yusa have some relationship with Avatamsaka Sutra,by comparative and analysis,we can observe thatthere are a lot of relevance between Korean Water Moon Kwan-yin pictures and the works of Xia dynasty andSong dynasty on the overall style and picture elements,all of those further proved that the Goryeo’s Water MoonKwan-yin had been not only affected by China Water Moon Kwan-yin and Avatamsaka Sutra but also developed adistinctive feature. In this thesis,we mainly focused on the Chinese and Korean Water Moon Guanyin picturefeatures,analysised the two style,the picture elements,and the relationship with the Avatamsaka Sutra,to furtherexplore the relationship between two country’s Water Moon Guanyin and their origin.Chinese and Korean WaterMoon Kwan-yin have closely relationship and special feature because of the mutual influence onhistory,geography geography,politics and economy, for this reason,the Water Moon Kwan-yin became the mostimportant reaserch data of Buddhism and painting.