본고는 한국의 조선과 일본의 에도의 불교예술에 나타난 뇌신상을 비교 고찰한 결과, 양국의 차이점을 지적하면 다음과 같다. 첫째, 뇌신의 등장이 조선에서는 수하항마도와 감로도에 등장한다면, 일본은 병풍과 조각에 등장한다. 둘째, 모습인데, 조선에서는 날개가 있고 새머리를 가진 유익조두형(有翼鳥頭形)이 주류를 형성하였다면, 일본은 머리카락이 치솟은 근육질의 오니형(鬼形)이 주류를 이룬다. 셋째, 뇌신의 도구로는 한손에는 끌(쐐기)이 또 다른 손에는 도끼(망치)를 가지고 있는 모습이 있는 것에 비해, 일본은 아령과 같이 생긴 북채를 두 손에 쥐고 있다. 넷째, 동반자이다. 조선에서는 단독으로 등장하는 것과 전모, 벼락신 등 그의 일족을 동반하는 경우가 있으나, 일본은 언제나 뇌신은 풍신과 함께 대칭을 이루며 등장한다. 다섯째는 성격이다. 조선의 뇌신은 선신과 악신의 이미지를 동시에 가지고 있으나, 일본은 사찰(불교)을 지키는 선신이다. 이와 같이 보았을 때 조선은 중국의 유행에 대단히 민감하여, 그것에 따라 뇌신의 모습이 많이 달라지나, 일본은 일단 성립된 전통은 시대의 흐름에 관계없이 그대로 유지 계승되었다.

This thesis has made a comparative study on the thunder gods that appeared in the Buddhist art in Joseon of Korea and Edo of Japan, pointing out the following differences. First, thunder god appears in the Painting of the Taming of the Demon, Mara, under the Bodhi Tree and the Nectar Ritual Painting for Joseon, whereas it appears in folding screens and sculptures for Japan. Second, it is its appearance. The mainstream figure in Joseon was wingless with bestial heads, whereas the Japanese counterpart was the brawny ogre with hair bristling. Third, it is the tools used by the thunder gods. In Korea, the thunder god holds a chisel in one hand and an axe (hammer) in the other. Whereas in Japan, the thunder god holds drumsticks shaped like dumbbells. Fourth, it is the partners. In Joseon, the thunder god shows alone or together with the thunder mother, and the lightning god, whereas in Japan, the thunder god is always partnered by the wind god. Fifth, it is the character. The thunder god of Joseon is described both as the good god and the evil god, whereas in Japan, it is a good god that safeguard the Buddhist temples. All in all, the thunder god in Joseon went through far-reaching changes in responding nimbly to the trend in China, whereas in Japan, the once established tradition carried on regardless of such changes.

本稿は朝鮮と日本の仏教芸術に表れた雷神像を比較考察したものである.　その結果を次のように纏められる.　一つ目, 雷神が朝鮮では樹下降魔図と甘露図に登場するが, 日本は屏風や彫刻に登場する.　二つ目, 容姿で朝鮮では翼と鳥頭を持つ有翼鳥頭形が主流を形成しているが, それに対して日本は逆髪や筋肉の鬼形が主流となっている. 三つ目, 朝鮮は雷神の道具としては一手には鑿, また一手には斧(槌)を持っている姿であるに対して, 日本は啞鈴のような鼓棒を両手にもっておる. 四つ目, 同伴者で朝鮮では単独で登場するのと電母, 落雷神などその一族を伴うことが多いが, 日本は風神と共に一組になって対称的に表れることが決っている. 五つ目は性格で朝鮮の雷神は善神と悪神のイメージを同時に持っているが, 日本は寺院を守る善神である. このように朝鮮は時代の流れにとても敏感でそれに伴い雷神の姿も多様に変化するが, 日本は一旦伝統としてイメージが成立すると, 時代の流れと無関係でそのまま維持継承された.

the god of thunder, Joseon of Korea, Edo of Japan, Painting of the King of Sweet Dew, Painting of the Eight Great Events

This thesis has made a comparative study on the thunder gods that appeared in the Buddhist art in Joseon of Korea and Edo of Japan, pointing out the following differences. First, thunder god appears in the Painting of the Taming of the Demon, Mara, under the Bodhi Tree and the Nectar Ritual Painting for Joseon, whereas it appears in folding screens and sculptures for Japan. Second, it is its appearance. The mainstream figure in Joseon was wingless with bestial heads, whereas the Japanese counterpart was the brawny ogre with hair bristling. Third, it is the tools used by the thunder gods. In Korea, the thunder god holds a chisel in one hand and an axe (hammer) in the other. Whereas in Japan, the thunder god holds drumsticks shaped like dumbbells. Fourth, it is the partners. In Joseon, the thunder god shows alone or together with the thunder mother, and the lightning god, whereas in Japan, the thunder god is always partnered by the wind god. Fifth, it is the character. The thunder god of Joseon is described both as the good god and the evil god, whereas in Japan, it is a good god that safeguard the Buddhist temples. All in all, the thunder god in Joseon went through far-reaching changes in responding nimbly to the trend in China, whereas in Japan, the once established tradition carried on regardless of such changes.