朝鮮時代 17世紀 木幀 硏究 = A Study on 17th-Century Wooden Wall Paintings in the Chosun Dynasty
저자
발행사항
서울 : 동국대학교 교육대학원, 2008
학위논문사항
학위논문(석사)-- 동국대학교 교육대학원 : 미술교육전공 미술교육전공 2008. 8
발행연도
2008
작성언어
한국어
주제어
DDC
218.775
발행국(도시)
서울
형태사항
ii, 111 p. ; 26 cm
일반주기명
지도교수: 김창균
DOI식별코드
소장기관
The present study examined the current state and iconic and style characteristics of wooden wall paintings created in Gyeongsangbuk-do during the 17th century in the Chosun Dynasty focused on the wooden wall painting in the Daewoong Hall of the Daeseung Temple in Mungyeong, and that in the the Daejang Hall of the Yongmun-sa Temple in Yecheon.
A wooden wall painting is a wooden relief in the form of a background painting. There are six known wooden wall paintings from the Chosun Dynasty, and among them, those with the date of creation confirmed are the wooden wall painting at the Daeseung Temple in Mungyeong, that at the Yongmun-sa Temple in Yecheon, that in the Gwaneum Hall of the Namjang-sa Temple in Sangju, that in Yaksu-am of the Silsang-sa Temple in Namwon, etc., and those with the date of creation unknown are the wooden wall painting in the Bogwang Hall of the Namjang-sa Temple in Sangju, that at the Gyeongguk-sa Temple in Seoul, that at the Mireuk-sa Temple in Wanju, etc. In particular, the works with the date of creation known are very important because they can be used as bases for setting the chronological order of Buddhist sculptures during the late Chosun Dynasty, and it is very remarkable that most of them were all created during the late Chosun Dynasty.
During the Chosun Dynasty, Buddhism was depressed due to the government's policy of suppressing Buddhism, but because the dynasty was born of the Koryo Dynasty that embraced Buddhism as the national religion, it still maintained Buddhism and continued to create Buddhist images steadily. Particularly after the two great wars, one with Japan and the other with Manchu, in which patriotic monks displayed dazzling activities for rescuing the country, numerous Buddhist paintings and statues were created. Nevertheless, research on Buddhist sculptures has been mainly focused on the Period of the Three Kingdoms, the Unified Shilla Dynasty and the Koryo Dynasty, and Buddhist sculptures created in the Chosun Dynasty have been relatively less spotlighted and only recently schools and artists in the period are being studied and discussed actively.
Wooden wall paintings function as background paintings, but they are important objects that should be included in discussion on Buddhist sculpture activities during the late Chosun Dynasty. A wooden wall painting is composed of a number of wood blocks, and in terms of its enshrined position and composition, it has the characteristic of a background painting. On the other hand, each image expressed in a wooden wall painting is an independent sculpture image and therefore it is possible to examine the icon of each image separately. In particular, all the extant wooden wall paintings have Amitabha as their main Buddha and this proves that worship to Amitabha was popular throughout the late Chosun Dynasty.
Wooden wall paintings play the role of a background painting, but are different from other background paintings in that their material is wood rather than paper or linen. Wooden wall paintings from the late Chosun Dynasty took the form of a frame that surrounded a number of carved wood blocks and were used as background paintings. For this reason, they have been called 'wooden wall sculpture' in previous studies. However, it is called 「……三尊後佛木幀(Samjonhubulmokjeong)……」 according to the record on the bottom of the wooden wall painting (1684) at the Yongmun-sa Temple, 「……實相寺諸佛□□□諸幀 (Silsangsajebul□□□jejeong)……」 on the wooden wall painting (1782) in Yaksu-am of the Silsang-sa Temple, and 「……木幀佛像甲戌造成 (Mokjeongbulsanggapsuljoseong)……」 according to 『天柱山北長寺蹟記 (Cheonjusanbukjangsajeokgi)』, a record on the wooden wall painting (1694) in the Gwaneum Hall of the Namjang-sa Temple in Sangju. Thus, this study calls them 'wooden wall painting' rather than 'wooden wall sculpture.'[각주 : It is unknown when ‘wooden wall sculpture’ was used for the first time, but the term is used until now because its meaning is not much different. However, relevant records are believed the most accurate leads to the original meanings of Buddhist works, and it is considered most reasonable to call wooden wall paintings based on records about them. Thus, because ‘Mokgakjeong(木刻幀)’ has been used in the past for the sake of convenience, we will use ‘Mokjeong(木幀)’ according relevant records. We may also need to reconsider the fact that many terms related to the history of arts were coined for convenience by previous researches and they cause great confusion among us.]
The present researcher took interest in the wooden wall paintings because they were all created during the late Chosun Dynasty and all the extant wooden wall painting from the Chosun Dynasty are background paintings with Amitabha as the main Buddha. Thus, this study purposed to examine the current state of the extant wooden wall paintings, and analyzed their contents and religious characteristics focused on their titles, date of creation and expression techniques, and the background of how wooden wall paintings adopted Amitabha as their main figure. For this purpose, we selected four wooden wall paintings superior in the composition of icons and formative beauty and showing the contrast of icon and style among wooden wall paintings from the 17th century, which are the wooden wall painting at the Daeseung Temple in Mungyeong, that at the Yongmun-sa Temple in Yecheon, that in the Bogwang Hall of the Namjang-sa Temple in Sangju, and that in the Gwaneum Hall of the Namjang-sa Temple, and analyzed them closely.
First, Chapter II reviewed the trend of Buddhism and the popularity of Amitabha worship in the late Chosun Dynasty as the background of wooden wall paintings created during the period, and based on the background, Chapter III studied the current state of wooden wall paintings from the 17th century and analyzed their sculptural and Buddhist elements. In addition, Chapter IV compared icons in the wooden wall paintings with those in Buddhist statues and Buddhist paintings from the 17th century, and discussed the characteristics of their style. Chapter V considered the meanings of the 17th-century wooden wall paintings in the history of Buddhist art.
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