THE PATRONS OF GORYEO BUDDHIST PAINTING = THE PATRONS OF GORYEO BUDDHIST PAINTING
저자
발행기관
학술지명
권호사항
발행연도
2010
작성언어
-주제어
자료형태
학술저널
수록면
30-61(32쪽)
제공처
Throughout the Goryeo period, when Buddhism was the official state religion, both the royal house and aristocrats frequently sponsored colossal projects for constructing lavish temples. Officials, both civil and military, local administrators and monks were also active patrons of Buddhist architecture and art, even if on a more modest scale. Currently, some 160 Buddhist paintings dated to the Goryeo period have survived. Thirty of these paintings carry dated inscriptions, and the patron is known for twenty-three of them. All of them were produced during the period when the Goryeo king and ruling class deferred to the Yuan. The paintings were commissioned by people of various classes and walks of life, from the royal house and influential military leaders to Buddhist monks, groups of faithful and individuals; they were intended to pray for the prosperity of the country and the welfare of its people, an end to a war, or as vehicles of more personal prayers for longevity and rebirth in paradise.
This paper divides the patrons of Goryeo Buddhist paintings into four large categories: the royal house and government officials (civil and military officials and palace staff), monks, Buddhist groups and individuals. Concubine Sukbi, who commissioned the creation of Water-Moon Avalokiteshvara in 1310, for example, is among the best known of royal patrons of Buddhist paintings. Among government officials, Yeom Seung-ik, a member of the close entourage of King Chungnyeol (r. 1275-1308), the eunuch Seo Ji-man, Yi Yo-seom, a senior military official, and a certain Gwon Bok-su, who was actually either Gwon Dan (1228-1311) or Gwon Bu (1262-1346), stand out for their patronage activities. Among monk patrons, those who held the highest clerical positions include, daeseonsa (name unknown) and seungtong Johyeong (the head abbot of Jeongeopwon), both of whom commissioned Illustration of Amitayur-dyana Sutra in 1323. Hyeoncheol, who commissioned Illustration of the Sutra on the Descent of Maitreya in 1350 and the abbot of Anyangsa, the patron of the Amitabha with Eight Great Bodhisattvas in 1320 are also worth a mention. Goryeo Buddhist paintings, brilliantly-colored and using profuse amounts of gold powder, with meticulously depicted details, are generally believed to have been works commissioned by the royal house or aristocrats. This, however, was not always the case. Buddhist paintings were sometimes commissioned by individuals or small groups of devotees known as hyangdo. Examples of paintings sponsored by groups include the Rinsho-ji Illustration of Visualization Sutra (1323), the Hōon-ji Amitabha Triad (1330), and the Shinnō-in Illustration of the Sutra on the Descent of Maitreya (1350). Another Amitabha Triad (in Uesugi Jinja), dated to 1309, was, meanwhile, created under the patronage of a certain Seo family (Suhodang). This family is believed to be of the Seo clan of Icheon, a noble lineage whose most famous scion was Seo Hui (942-998), a scholar-official and diplomat of early Goryeo. The examination of literature providing circumstantial information on Goryeo Buddhist paintings revealed that people of various social classes participated in their patronage, ranging from the royal house, government officials (civil and military officials, palace staff) to monks, groups and individuals. This may be a result of the belief that constructing a temple, erecting a pagoda, hand-copying a Buddhist scripture or worshipping a Buddha statue contribute to ensuring good fortunes for oneself and one’s family. The trend toward seeking rewards in this world by transcribing sutras or commissioning Buddhist statues or paintings is, therefore, likely to explain the widespread patronage activities for Buddhist paintings in this period. Patrons of Buddhist paintings also included a new type of politically influential families known as gwonmunsejok (權門勢族) or gwonmunsega (權門勢家) which emerged in late Goryeo, replacing traditional old families that made up the ruling class in early Goryeo. The most active patrons of Buddhist paintings from this period, remain members of the Yeom clan of Seowon, best known for Yeom Seung-ik, and the Kim clan of Eonyang whose most famous member is Concubine Sukbi. The fact that Buddhist paintings were commissioned by people of widely-varying walks of classes from the royal house to ordinary individuals and religious groups, meanwhile, attests to a deep and far-reaching penetration of Buddhism in Goryeo society.
The examination of literature providing circumstantial information on Goryeo Buddhist paintings revealed that people of various social classes participated in their patronage, ranging from the royal house, government officials (civil and military officials, palace staff) to monks, groups and individuals. This may be a result of the belief that constructing a temple, erecting a pagoda, hand-copying a Buddhist scripture or worshipping a Buddha statue contribute to ensuring good fortunes for oneself and one’s family. The trend toward seeking rewards in this world by transcribing sutras or commissioning Buddhist statues or paintings is, therefore, likely to explain the widespread patronage activities for Buddhist paintings in this period. Patrons of Buddhist paintings also included a new type of politically influential families known as gwonmunsejok (權門勢族) or gwonmunsega (權門勢家) which emerged in late Goryeo, replacing traditional old families that made up the ruling class in early Goryeo. The most active patrons of Buddhist paintings from this period, remain members of the Yeom clan of Seowon, best known for Yeom Seung-ik, and the Kim clan of Eonyang whose most famous member is Concubine Sukbi. The fact that Buddhist paintings were commissioned by people of widely-varying walks of classes from the royal house to ordinary individuals and religious groups, meanwhile, attests to a deep and far-reaching penetration of Buddhism in Goryeo society.
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