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자료유형
학술저널
저자정보
노성환 (울산대학교)
저널정보
대한일어일문학회 일어일문학 日語日文學 第84輯
발행연도
2019.11
수록면
213 - 232 (20page)

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초록· 키워드

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This thesis represents a comparative study on the thunder gods in Korea and Japan as viewed through the paintings of Avalokitesvara Bodhisattva. For both countries, the archetype of their thunder gods is found in China, but they differentiate as follows in receiving and utilizing it. First, the scope of their appearance. The thunder god appears in Korea in the Water-Moon Avalokitesvara Bodhisattva, the Willow-Branch Avalokitesvara Bodhisattva, Thirty-two transformations of the Bodhisattva of Great Compassion, and the paintings depicting the transmutation of the Pure Land or Hell in the Sutra of the Lotus, whereas they appear only in the painting of the twenty-eight attendant deities of Thousand Eyes and Hands Bodhisattva in Japan. Second, the shape. The thunder gods in the Korean paintings were initially wingless with bestial heads, but turned winged with birds’ heads in the Joseon period. In comparison, Japan steadfastly stuck to the ancient form of the ogre with the scary face that has hair bristling up. Third, it is character. In Korea, the thunder god served as an entity that harassed humans by carrying dark clouds and raising thunder, lightning, and rainstorm, whereas in Japan they were good goods that safeguarded Avalokitesvara Bodhisattva and helped the practitioners of Buddha-dharma as an affiliate of Thousand Eyes and Hands Bodhisattva. Fourth, the independence of the two countries. In Korea, thunder god appeared amidst the integration of Avatamsaka Sutra, the Huayen Sutra, the Sutra Faith, and the Sutra of the Lotus, whereas in Japan, the thunder god was presented as an affiliate that forged a partnership with the wind god to safeguard Avalokitesvara Bodhisattva. Thus, the thunder gods in Korea and Japan grew out of one single root of China and pushed up different flowers.

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Abstract
1. 서론
2. 한국 관음도의 뇌신
3. 일본 관음도의 뇌신
4. 한일 관음도의 뇌신 비교
5. 마무리
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