朝鮮時代 線描佛畵 硏究 = A Study on Buddhist painting in Line Drawing of Chosun Dynasty

다국어 초록 (Multilingual Abstract)

Buddhist painting basically uses color and line, but in Chosun dynasty they were hardly used and the mainstream was Buddhist painting in line drawing(線描佛畵) where color was hardly seen and line was of importance in expression.
No existing Buddist painting in line drawing was made before Chosun dynasty and has the same painting technique with Buddhist painting in color, creaing a unique look. Buddhist painting in line drawing, which was basically focused on drawing line, has a distinct difference in expression technique with Buddhist painting in color, which used various colors.
Chapter II studied the concept and background of Buddhist painting in line drawing. The Buddhist painting in line drawing of Chosun shows a unique painting technique and the existing one was not produced other than in the period. Painting records and documentary records on works of the 15th and 16th century help infer the development of the naming and concept of Buddhist painting in line drawing. One of the records on Buddhist painting commissioned by Royal Court(王室發願 佛畵) includes the term of 'in Gold Lined-drawing painting'(純金畵), which means that gold was used to draw Buddhist painting and seems to indicate the Buddhist painting in line drawing. The term is not read in records on paintings and documents before the 16th century and implies that it indicates a peculiar concept. Additionally, Buddhist paintings in line drawing commissioned by common people(民間發願 佛畵) plays a role in understanding Buddhist painting in line drawing in that they were not called 'in Gold Lined-drawing painting', which shows that the term was related to Royal Court.
Chapter III traced the origin of the style of Buddhist painting in line drawing through the paintings of early Chosun and studied the relations with Frontispiece Buddhist painting in color. Frontispiece painting and Buddist painting in line drawing have something in common in the painting technique to use one base color and line and the willingness to complete the painting and fill the space with line drawing. Still, Frontispiece painting aims to copy the Buddhist scripture, while Frontispiece painting aims to interpret the scripture and express it into a painting for easy access to accumulate virtuous deeds, not to express worship shown in Buddhist painting. Therefore, Buddist painting in line drawing in the 15th century does not seem to have succeeded the style of Buddhist painting developed from Frontispiece Buddhist painting and rather can be seen as Buddhist painiting that adopted the iconolgy and figures of Koryo. For a representative example, 'Avalokitesvara and Ksitigarbha painting in Gold Line-drawing'(金線描 觀音·地藏菩薩竝立圖) possessed by Amyoin(阿名院) fully adopted the expresses of iconolgy and gold dust mixed with glue used in Koryo. This can be inferred that Buddhist painting in line drawing was developed from other Buddhist painting than Frontispiece Buddhist painting. The Buddhist painting in line drawing in the 16th century has differences with one presumed to be painted in the 15th century in the technique to compose space with lines, pursuing its original technique. 'Amita￣bha with the Eight Great Bohisattvas painting in Glod Line-drawing'(金線描 阿彌陀八大菩薩圖) possessed by Enracuchi(延曆寺, 1532), the earliest example of Buddhist painting in line drawing of the 16th century, shows the repetition of composing space with line instead of colors and figures unseen in the earlier Buddhist painting in line drawing. The characteristics of the Buddhist painting in line drawing of the 16th century can be found in the changes of painting technique according to the classes commissioning votive offering. The Buddhist painting in line drawing of the 16th century commissioned by Royal Court shows a drastic contrast in the strength of line and allows no space, filling it with lines. It also expresses the repeated flow of line and same composition of figures. In terms of materials, the painting uses vermilion on silk fabrics and gold dust. On the other hand, the Buddhist painting in line drawing commissioned by common people has differences with one commissioned by Royal Court in the level of grace and materials, using yellow and white paints. Painting records called Buddhist painting in line drawing commissioned by Royal Court as 'in Gold Lined-drawing painting' but did not call the painting commissioned by common people including the painting technique in spite it used gold. It can be interpreted as a difference in the painting technique and materials by the commissioning classes. However, the difference is not always stark. For instance, several paitings such as 'Amita￣bha Triad painting'(阿彌陀三尊圖, 1581) possessed by a private has the grace equivalent to paintings commissioned by Royal Court and some Buddhist paintings in line drawing employed silks and gold. Consquently, there is need to reconsider dividing the style of painting according to the commissioning classes: Royal Court and common people.
Chaper IV, with the subject of 'the style of Buddhist painting in line drawing inlate Choson', studied the development of Buddhist painting in line drawing of the times in the aspect of the acceptance of early style and the apperance of various techniques. The existing Buddhist paintings in line drawing of late Chosun have the traditional painting techniques seen 'in Yellow Line-drawing Amita￣bha sermon painting(黃線描 阿彌陀說法圖)(1759)' or show the trend of simplifying line and expanding color without the concept to fill space with line. Another characteristic is that the scope of coloring expands from motif to iconology. Added to the trend of the times, further examination on Buddhist painting in line drawing was made through 'shared iconology' and 'regional characteristics of painters'. 'Uilization of a block book' in 'Shared iconology' found out how the iconology of a block book was undersood when it was accepted and made a conclusion that there are differences in the technique to express line between a block book and Buddhist painting in line drawing. 'Utilization of same iconology' tried to remind you that two Buddhist paintings employed different painting techniques of drawing line and coloring to express the same iconology. The painting techniques of some painters such as Biyeon(丕玄), Saekmin(色敏), Cheonyeo(天如), who produced Buddhist painting in line drawing, were reviewed in order to understand the changes in the technique. Based on the painters' characteristics, regional characteristics were simply studied. The regional characteristics were focused on paintings of Jeollado and Gyeongsangdo, where many Buddhist paintings in line drawing were drawn in the 19th century. Red textile was mainly used in the paintings of Jeollado, but various textile such as red, black and blue one was used in Gyeongsangdo. Unlike the two areas in the 19th century Seoul and Kyeonggi area did not show active production of Buddhist painting in line drawing and passed no paintings onto the present. This mainly results from painters and the commissiong classes. Accordingly, the thesis paid attention to the following: Seoul and Kyenggi area cleared old Buddhist paintings and produced new one in the days; At the same time, painters accepted Western painting techniques(西洋畵法) introduced with Western culture; Plus, the demand for Buddhist painting decreased and the commissioning class preferred Buddhist painting in color using various colors.

목차 (Table of Contents)

• Ⅰ. 序論 = 1
• 1. 硏究目的 = 1
• 2. 硏究內容 및 方法 = 3
• Ⅱ. 線描佛畵의 槪念과 製作背景 = 5
• 1. 線描佛畵의 名稱과 槪念 = 5
• 1) 畵記 = 7
• 2) 文獻資料 = 14
• 2. 線描佛畵 製作背景 = 20
• Ⅲ. 朝鮮前期 線描佛畵의 樣式 = 26
• 1. 線描佛畵의 成立과 擴散 = 26
• 1) 線描佛畵의 成立 = 26
• 2) 線描佛畵의 擴散 = 40
• 2. 發願者 階層에 따른 樣式 = 51
• 1) 王室發願 線描佛畵 = 51
• 2) 民間發願 線描佛畵 = 61
• Ⅳ. 朝鮮後期 線描佛畵의 樣式 = 80
• 1. 先行樣式의 受容 = 80
• 2. 다양한 畵法의 擡頭 = 89
• 3. 圖像의 共有 = 99
• 4. 畵師와 地域的 特徵 = 111
• Ⅴ. 結論 = 140
• 【參考文獻】 = 149
• 【表目錄】 = 156
• 【揷圖目錄】 = 156
• 【圖版目錄】 = 158
• 【圖版】 = 162
• 【ABSTRACT】 = 208