慶船堂 應釋의 畵風 硏究

다국어 초록 (Multilingual Abstract)

Gyeongseondang Eung-seok(慶船堂 應釋) is a painter monk, who was actively engaged in painting work in such areas as Seoul-Gyeonggi and Gangwon from the mid 19th to the early 20th century, leaving numerous Buddhist paintings.
The Buddhist painter monks in this period are divided into two painter (Hwasa, 畵師) groups: one group whose members inherited and developed the traditional Buddhist painting techniques; and the other group whose members introduced Western painting styles. Eungseok is one of the representative Hwasa’s in the former group. On the other hand, in this period, while its door was opened by the Imperialist Japan and other Western Powers, Korea lost her sovereignty under theeconomic spoliation by the foreign powers and the political chaos. The fact that there were strikingly many Buddhist paintings initiated by the Royal family in the period suggests that the Royal family’s desperate intention to resolve the national difficulty with the Buddhist merit was a factor. There were many Royal family related Buddhist paintings by Eung-seok among others, which seems to mean that he was a brilliant painter who represented the times.
When considering the forms, icons, and modes of the Buddhist paintings by Eng-seok, we can see that he inherited the existing Buddhist paintings to produce more developed paintings and that his painting style had much influence on contemporary, as well as later, Buddhist paintings. His work can be divided into 4 periods based on its modes: in the second period (1866~1890), he established his unique painting style by presenting his own novel folk-customary Buddhist paintings and using unique colors; in the third period (1891~1900), he left many excellent works while working in association with other famous Buddhist painter monks at that time.
Given the works left by him, we can find out that Eung-seok enjoyed the most active engagement in his work in Seoul-Geyoggi, while, from his works shown around Gangwon and Mt. Geumgang areas, we can tell that he was a Buddhist painter monk of distinction at that time.
Eung-seok was engaged in painting work for an about half-century long period, and left excellent works. Contrastively, the number of his works that have been investigated was too small. Given the frequent gaps in the chronicle of Eung-seok’s work, we can conjecture that there might be a considerable number of works remaining undiscovered at present. Thus, I believe that some investigation of temples in the North Korean areas as well as a full-fledged search of the temples in the Seoul-Gyeonggi areas should be carried out.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 19세기 시대적 상황과 불화조성 배경 = 3
• 1. 시대적 상황 = 3
• 2. 불화조성 배경 = 7
• Ⅲ. 경선당 응석의 활동범위와 畵派관계 = 11
• 1. 활동 범위 = 11
• 2. 화파 관계 = 26
• Ⅳ. 경선당 응석 불화의 형식과 특징 = 37
• 1. 불화의 형식 = 37
• 2. 불화의 특징 = 61
• Ⅴ. 경선당 응석 불화의 양식적 특징과 편년 = 69
• 1. 양식적 특징 = 69
• 2. 편년 = 77
• Ⅵ. 경선당 응석 불화의 불교회화사적 의의 = 80
• Ⅶ. 맺음말 = 82
• ◆ 참고문헌 = 84
• ◆ 표목록 = 89
• ◆ 삽도목록 = 89
• ◆ 도판목록 = 90
• ◆ 도판 = 95
• ABSTRACT = 125