通度寺 龍華殿 壁畵 硏究 = Studies on Tongdosa(temple)'s Yonghwajon Mural
Mural is the picture painted on the temple building wall and is a kind of decoration work to make the worshipping space, sanctum(bubdang), where Buddha's statue is enshrined, even more gorgeous place.
Due to the frequent wars, most of the Chosun-era buildings were lost, and the murals which were the part of the whole temple also lost.
Temples began to be rebuilt from 17th century, the murals also were drawn from this time earnestly. As the murals painted outside of the buildings were exposed to the wind for a longtime and redesign of red and blue color works made murals lose its original form. For this reason, in-depth research for the murals needs to be conducted as soon as possible.
This study aimed to contribute to the research of wall paintings of Chosun Dynasty by in-depth study of the Yonhwajon-hall (dedicated to Maitreya) murals in Tongdosa temple currently remained among the Chosun Dynasty murals.
Tongdosa was founded by Silla's 27th Queen Seondeok 15 years (646 AD) by Jajang-yulsa (disciplinary monk) and has been a bulbo temple (buddha's treasure) enshrining the Buddha's Jinsin-sari (real body coil) in it through Koryeo and Chosun era.
Today Tongdosa has more than 50 small and large buildings divided into three location, Sangro-jon (upper location of the temple ground) hall, Jungrojon(middle), Harojon (front), and Yonghwajon hall is placed in middle part (Jungrojon) and is currently managed and designated as the Tangible Cultural Property 204 of Kyongsangnam-do Province.
Tongdosa's Yonghwajon style is daposik (multi-shaped eaves) building. Different from other buildings, it is constructed to have 1 layer gonpo (spaced wrapping design) outside and 2-layer gongpo inside which configuration of gonpo created the unusual architectural structure of the internal 5 chulmok (protruding wood) and external 2 chulmok. The number of the pobyok (wrapping of wall) became double to have 2-layer configuration of dividing into sang-pobyok (upper) and ha-pobyok (lower).
This structure of the building has the benefits of having more space for painting murals on the wall and decorating the interior of the santum even more gorgeous and magnificant compared to other same sized building structure.
Tongdosa's Yonghwajeon mural currently has a total of 71 pieces. Compared to the same sized other buildings which have 3 quarters (square) each in front and side, comparatively more murals remain as it still has 20 pieces on outside wall and 51 pieces on inside wall. Outside wall has various icons of Yoraedo(Tathagata-future Buddha), Nahando(Buddha's disciples=arahan), Gosainmuldo(figures of past), Hojakdo(playful tigers), Unryongdo(dragon in clouds) are painted on it, and inside wall has drawings of Jijang-bosaldo(practitioner Jijang)), Nahando, Gosainmuldo, Seoyukido(journey to west), etc.
Also the majority of iconography painted on the external and inner wall is Nahando, and it reflected a lot of pictorial image of the China's Ming Dynasty "Samjaedohoi" (Chinese encyclopedia samples on human body) and "Hong's-buddhist-fairy-depicts" and sought to create various iconography from the traditional one.
One particular drawing on inside wall is 'Journey to West' (Xiyouji-do) which was known as 'Destiny myth' until quite recently, but in 2008 it was confirmed to be the illustrattion of 'Xiyoujido' by Seongbo Cultural Properties Institute's researcher.
As there is no record about the time and producer of Murals in Tongdosa's Yonghwajon, careful consideration should be given to estimate them. This study processed focusing on the internal murals among others of Yonghwajon.
One record says that Tongdosa's Yonghwajon was founded in 1366, and after being rebuilt by Chongsong the Great Priest in 1858, a tile(brick)-changing work was conducted in 1899 and a renovation in 1899. But about the exact time when Yonghwajon murals was drawn and who were participated in the composition of the murals, no record was found.
Through the remaining related records about the Daegwangmyongjon (great glorious -grandeur hall), it is possible to infer against the time and painters who participated the creation of the murals in Yongwhajon, Tongdosa Temple. According to the Daekwangmyongjon-Samsungpilhu-tablets (1759), its records says 4 sanctums including Daegwangmyongjon were burned up due to the fire broken out in 1756, 3 santums out of them were rebuilt in 1758, and the red-blue color work of Daegwangmyongjon hall was completed in 1759.
Tongdosa's Yonghwajon is located very close to the Daegwangmyogjon hall, so if the fire was big enough to burn all four sanctums, it is easy to imagine that Yonghwajon also had been lost together with others. Also the same (oriental) caligraphies are written on both Yonhwajon and Daekwangmyongjon buildings, which are presumed to be a means of exorcism to avoid the fire, which also shows Yonghwajon likely to have been lost.
Composition of murals in Daegwangmyongjon was done by one group of painters with head-painter Imhan in 1759. Forms of the murals in Yonghwajon and Daegwangmyongjon are very similar to each other, so it is considered two buildings must have the same time and producer for it's composition. It is also seen that the painters who participated in the mural work were not the existing painters in that temple, but who were temporarily invited to do the great job of renovation. If it were such a big process to invite outside painters, then it wouldn't have been the work only for Daekwangmyongjon, so it is pretty much likely to have been the same group.
Presently we see seven pieces of Xiyouji (journey) story murals drawn on the east and west wall of Yonghwajon hall in Tongdosa temple. Not many of relievo or drawings expresssed Xiuyouji Journey are seen in Korea. Actually it is the only case which is then believed to have a very important value.
Tongdosa's Yonghwajon has 7 pieces of Xijouji journey pictures with 6 icons drawn on it;
11th Dogohonsou-jongkong-mun, (received life thru good acts)
12th Hyonjang-byongsungkon-daehoe (establishment with sincerety),
81st Huk-songrimsa-jungsimsa (master in the black pinetree forest),
84th Nanmyol-gajiwon-daegak(great realization thru hardships),
87th Bongsunkun-mochonjiu (encouragement of goodness),
94th Ilkyongkong-hoejungyokhero (repentance on the lustful life)
Xiyouji tablets are largely divided into Ming and Qing Dynasty edition, the title of Xiyouji picture on Yonghwajon followed the Ming's tablet and icons of it is also very similar to Mings's Xiyouji tablet - "Shingakchulsangkwan-pandaeja Xiyouji (sedeok dangbon)". These evidences tell us Ming Dynasty's Xiyouji might have been flowed into Tongdosa in late Chosun Dynasty, which became the basis for the composition of wall paintings.
Murals on Yonghwajon wall is thought to have been produced by the painters who participated in the same work of Degwangmyongjon after its rebuilding work in 1759.
Unusual iconography of Xiyouji' figures tells us that the monks of that time not only studied the Buddhist scriptures but also the Confucian, historical, and general books.
And monk painters also were efficient in buddhist's icons as well as various other objects of paintings.
The illlustration of suryukjae scene (sacrificial rites in water) in Xiyouji's picture means that Chosun dynasty, after its natural and two war disaster, emphasized sacrificial rites aimed at protection from the natural disaster, healing of disease, salvaged from sufferings, prayor for life-after-death, etc. Thus we can understand Tongdosa's mural did not simply decorated the sactums but also had the role of educating the people of that time as a rehabilitation-purpose picture.
Though the murals on Yonghwajon has no exact time and painter of its production known but through its style and historical evidences we can estimate the same. In consideration of the important art historical value of its unique iconography, Xiyouji, further study and deeper research should be given to it
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