朝鮮後期 莊嚴身 掛佛圖 硏究
저자
발행사항
서울 : 동국대학교, 2019
학위논문사항
학위논문(석사)-- 동국대학교 대학원 : 미술사학과 2019. 2
발행연도
2019
작성언어
한국어
주제어
발행국(도시)
서울
기타서명
A Study on Jangeomsin Gwaebuldo in the Late Joseon Dynasty
형태사항
280 p. : 삽도 ; 26 cm.
일반주기명
동국대학교 논문은 저작권에 의해 보호받습니다.
지도교수: 정우택
서지적 각주와 참고문헌(p. 201-214) 수록
UCI식별코드
I804:11020-000000079080
DOI식별코드
소장기관
Gwaebuldo is a large Buddhist painting used in rituals or rites held outdoors in places such as Yeongsanjae and Sulyugjae. Therefore, the Gwaebuldo is a Buddhist painting for rituals that serves functions other than hubulhwa that are hung on royal palaces. It does not express a specific sacred name and be produced for various iconographies such paintings of Sakyamuni’s preachings, Trikaya (The Three Bodies), and paintings of Multi-Buddhas. Among them, there are also unique iconographies of Buddha that wears a jeweled crown and with a magnificent body. This study calls it the ‘Jangeomsin Gwaebuldo’ in accordance with the passage saying ‘Myosang jangeomhan gongdeogsin’ that appears in the ritual manuals of ‘Jebanmun’ and ‘Ojongbeomeumhip’.
The late Joseon Dynasty when the Gwaebuldo was produced was a time of huge casualties due to wars and natural disasters. In this state of confusion, Buddhist circles led various rituals and supported and encouraged the public. Thus, standardized ritual manuals were published in large amounts at this time. With the publication of ritual manuals, production of Gwaebuldo also increased, and the Jangeomsin Gwaebuldo was also produced according to such trends of times. However, unlike the Buddhist Gwaebuldo, the Jangeomsin Gwaebuldo’s production began to drop from the 19th century when the publication of ‘Seogmunibeom’ and ritual processes changed.
There are currently 20 Jangeomsin Gwaebuldo that still exist today and they show characteristics of the times and regions. The production period spans from the 17th century to the 20th century, but they are concentrated mainly in the 17th and 18th centuries with 8 being from the 17th century and 10 being from the 18th century. Furthermore, the production region is mainly spotted across Chungcheong-do and Gyeongsang-do. The Jangeomsin Gwaebuldo can be categorized as yeonhwasuji (holding a lotus flower) and Seolbeobin, while yeonhwasuji accounted for the most with 14.
<Gwaebuldo> of Muryangsa Temple that was produced in 1627 is not only recorded as Maitreya in the painting techique, but was also produced as a Maitreya by expressing the 47 throne Buddha painting in the storage. The reason why this first work could be produced as Maitreya is assumed to be associated with the belief in Maitreya and large stone Buddha that was popular in the Chungcheong-do area at the time. In particular, many large stone Buddha statues concentrated in the Chungcheong-do region that are all called Maitreya may be another reason why the Jangeomsin Gwaebuldo could be produced at Murysangsa Temple. The Muryangsa Temple <Gwaebuldo> affected the formation of the iconography of Jangeomsin Gwaebuldo produced in later times. However, it also showed trends of not being produced Maitreya, but in a variety including Locana and Sakyamuni, and once all of the rituals were recompiled centering at Yeongsanhoe (Vulture Park), they started to return to Sakyamuni.
It is judged that the iconography of the Jangeomsin Gwaebuldo was shared and passed on among Buddhist monk painters, and the most famous are Eungyeol who worked mainly in Chungcheong-do in the 17th century and Haeung and Uigyun who were active mainly in Gyeongsang-do in the 18th century. In the 17th century, Eungyeol gained fame by producing two pieces of Jangeomsin Gwaebuldo and considering that there was active exchange among Buddhist monk painters especially around Gapsa Temple and Magoksa Temple in Chungcheong-do, the iconography was shared. The 18th century gains attention because Uigyun succeeded the iconography of Jangeomsin Gwaebuldo from the 17th to 18th century. Uigyun succeeded the <Gwaebuldo> of Jeokcheonsa Temple that Haeung participated in and produced the Bogyeongsa Temple <Gwaebuldo>. It is also presumed that Uigyun’s student Kwaemin produced the Cheongnyangsa Temple <Gwaebuldo>, and therefore, there are signs that the iconography was shared in the 18th century through lineage.
This study examined the course of establishing and deploying the iconography of the 20 Jangeomsin Gwaebuldo and based on this, conducted analysis on the time and regional characteristics. Furthermore, it was confirmed that during the course of developing the iconography, it was possible to pass on the iconography because of the active interaction of Buddhist monk painters.
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