順天松廣寺事蹟 附地圖의 圖像的 含意와 考察 = An Iconographical Study and Interpretation of the Map Attached to the Historical Records of Songgwangsa Temple in Suncheon

다국어 초록 (Multilingual Abstract)

This study conducts a comparative iconographical analysis of two late Joseon Dynasty temple maps, the “Map of Jogyesan Songgwangsa Temple” and the “Map of the Reconstruction of Seonamsa Temple by Great Master Daegak,” focusing on their ‘Sando’ (mountain map) production techniques. While sharing the same 19th-century temporal setting and the typological characteristic of being panoramic temple views, the analysis reveals fundamental differences in their artistic methods, objectives, and underlying ideologies. The Songgwangsa map, reflecting the temple's established authority as a ‘Seungbo Jongchal’ (Sangha Jewel Monastery), employs a realistic and pictorial style influenced by ‘Jin-gyeong’ (true-view) landscape painting. Its purpose is to ‘record’ and ‘display’ the temple's existing grandeur and its harmony with nature, embodying a harmonious worldview that sees nature as an aesthetic subject. In contrast, the Seonamsa map demonstrates a strong strategic intent to establish its historical legitimacy and Feng Shui auspiciousness amidst its rivalry with Songgwangsa. It utilizes a schematic, symbolic, and ‘Feng Shui-logical’ style, with folk painting influences, to ‘assert’ and ‘persuade’ viewers of its superiority as a propitious site. This approach actively visualizes an instrumental view of nature and the 'Bibo' (remedial) Feng Shui philosophy, where nature is analyzed and controlled to create an auspicious location. In conclusion, the technical differences between the two maps transcend mere stylistic variations; they are visual manifestations of each temple's unique historical context, competitive dynamics, and self-identity. While the Songgwangsa map serves as a monumental ‘confirmation of achieved authority,’ the Seonamsa map functions as a strategic ‘declaration for constructing authority.’ This research illuminates how the complex dynamics between rival temples in the late Joseon period were projected onto visual culture.