월주문파의 불교회화 연구

다국어 초록 (Multilingual Abstract)

The early modern foundation of Buddhist paintings in Korea is shown through the power transition of patronage among the chief monks and their people with arrival of the Japanese colonial rule. Abundant production of Buddhist paintings can be hypothetically explained by the following factors; first, temples in affluent circumstances had created artworks more in frequency; second, raised interest in Western painting methods and an increased number of artworks under such techniques led active adaptation of the old Buddhist paintings into the new ones.
A trend towards the replication of a particular Dosang-a painting of Buddha-from the previous era is shown as a characteristic of Buddhist paintings in the early modern age. Specifically, displayed in <Yeorae Seolbeop-do>, first of all, Bulbosal Samjon (The Triad-Buddhas) are all placed seated in the painting, and a painting of Sacheonwang at the bottom of the frame is also depicted as seated as well. Secondly, Gwaneumbosal among Hyeopsibosal is standardized as Gwaneum in white. Thirdly, departed from an existing Seolbeopin (the hand seal), Amitabul is facing up its left hand at a chest-high towards the sky, connecting its left middle finger and thumb, and its right hand is similar in shape to Hangma-Chokjiin. Fourthly, Hyeopsibosal is facing the front; Gwaneumbosal is wearing a white robe; Sacheonwang is depicted as seated. Fifthly, in <Yeorae Seolbeop-do>, for example, Geumgang Yeoksa is at a place where Sacheonwang has to be originally portrayed. As another trait along with a reproduction of <Jijangbosal-do> in fashion, Jijangbosal is standing at the center of the frame as the main figure, and Sunak Dongja, one with a staff and one with a boham are placed in its front. In <Sinjung-do, the painting of multiple divine guardians of the Dharma>, Witaecheon is at the bottom-center; Beomcheon (Brahma-deva) and Jeseokcheon (King Sakra) are at the top center of a composition shaped in alphabet ‘V.’ A famous Dosang that is replicated from <The Painting of Amrarta> positions Seven Tathagata in a row at the top of the screen. Beneath, sisikdan and the scene of a ritual under a tent are painted in detail. At the bottom-center, two Agwis joining their palms and putting them in front of their breasts are facing each other. In <The Descent of Tejaprabha Buddha>, Tejaprabha Buddha is seating on a lotus blossom-throne supported by a white bull with horns, while holding Dharma-chakra on its right hand and connecting its left index and middle finger into one. Each Hyeopsibosal on right and left is facing the main Buddha at the center, extending one’s foot towards it, and joins its palms in front of the breast while bending over its waist and knees.
Among the Buddhist paintings of the early modern times, in such works as <Yeorae Seolbeop-do>, mixed painting styles of figures are adapted more frequently compared to that of the works from the 19th century. For example, in <Seokga Seolbeop-do>, Seokgamonibul (Sakyamuni Buddha) is the main figure, but its hand sealing is Seolbeopin, not Hangma-Chokjiin. Also, in <Amita Seolbeop-do>, although Amitabul is the main figure, in many cases, its hand sealing is portrayed as Hangma-Chokjiin. In <Yeorae Seolbeop-do>, a Buddhist painting of Buddha emphasizing a belief in the Bodhisattva of Great Compassion by positioning Gwaneumbosal (Bodhisattva of Great Compassion) at the bottom-center of the frame of <Seokga Seolbeop-do> or <Amita Seolbeop-do> has emerged. Among the painted Buddhas in <Amita Seolbeop-do>, at the scene of a discourse of Amita, Siwang (ten kings) and a judge from Jijang Siwang-do and the Buddhist painting of the angel of death are shown as combined.
In the early modern era, the new change in traditional Buddhist paintings of Buddha is represented by the advent of the following paintings: <The Painting of Nine Thousand Five Hundred Buddhas(九千五百佛圖)>, <The Painting of The Bodhisattva of a Thousand Eyes and Hands(千手千眼觀世音菩薩圖)>, <The Painting of Three Views in One Thought(一心三觀圖)>, <The Painting of Jowang(竈王圖)>.
Furthermore, <The Painting of Amitabul>, <The Painting of The Mountain God>, <The Painting of Dokseong> are examples of newly adapted Buddhist paintings from their old-fashioned paintings of Buddha, and they mainly underscore their themes and reflect the trend of their times.
From the late Chosun Dynasty, elements of folk paintings had gradually started to appear in Buddhist paintings, and it became more present in the early modern times. New forms of Buddhist paintings also emerged, and they replaced their conventional motifs and added new ones by borrowing ideas from that of Chinese engravings and the popular novels of their time.
Moreover, the early modern era is a time that Japanese influence was inevitable in many aspects. For that reason, Budong Myeongwang (Aryacalanatha, or Immovable Bright King) was seen depicted in the Buddhist paintings during that period of time, and a method of screen split, which led an overall change in the composition of Buddhist paintings, was in trend.
Western painting methods, such as shading techniques and linear perspective, were introduced and adapted to the Buddhist paintings to express a sense of space. People who had learned western techniques and new styles of art were seen to participate in the mural works of Buddhist temples. In <A Portrait of A Preeminent Priest>, works based on traditional methods, works with conventional faces of figures, and works employed the new photographic techniques of the early modern time were all emerged.
These traits of expression had an impact on the modern Buddhist paintings as well, and above all, the time was full of advents of expressive artworks reflecting individual artists.
Weolju division and its legacy of painting styles have been alive from the late 19th century until modern times. They are emerged by the hand of Kijeon centrally from the Gyeongsang region. The legacy has been continued to Wanho, Weolju, and up to Sowoon.
Such a flow of the legacy is more apparently shown by the following evidence. First, Buddhist paintings and Chocheop-a collection of the groundwork for painting-assumably created by Kijeon are handed over to Wanho and later to Weolju, then finally to Sowoon.
Second, the connection between Kijeon and Wanho can be known by reviewing the painting documents of <Seokga Seolbeop-do(釋迦說法圖)> from Eunha Temple Eungjinjeon (The Hall of Disciples and Arhats). Nine pieces of artwork produced by Wanho and Weolju, including <The Painting of Seven Stars(七星圖)> from Yangsan Pogyodang, are recorded together in the same painting document, and this clearly shows the hand-down relationship between the two. The relationship between Weolju and Sowoon is shown through the certificate-that holds an official name of the monk-granted to Sowoon and a given letter of painting legacy. Furthermore, a Buddhist painting, a Chocheop, and the signboard of the institution of Weolju Classical Art(月洲古典美術傳授院) are given to Sowoon as well. These references are not even evident to the eyes of the current number 48 National Cultural Intangible Property(國家無形文化財) Dancheongjang(丹靑匠) Artisan and the number 118 National Cultural Intangible Property Bulhwajang(佛畫匠) Artisan, therefore they have accordingly a great value as data.
Third, based on the similarities in their painting styles, the Weolju division is originated from Kijeon. The influence of Kijeon has passed down to Wanho, Weolju, and Sowoon. The rest are the evidence of its influence: the hand seal of the main Buddha appeared in <Seokga Seolbeop-do> among the Buddhist painting of Samsin (Trikaya) from Haein Temple Daejeok Gwangjeon (The Hall of Great Peace and Light), the appearance of Hyeopsibosal in white robe standing faced front, and Gwaneumbosal dressed in white, Hyeopsibosal holding a lotus flower, and Anan and Gaseop (Kasyapa) possessing the head of an illumination. On top of that, the most noticeable features showing the influence of Wanho are the followings: Geumgang Yeoksa wearing nothing but a cape painted in replacement of Sacheonwang, depiction of objects held by Sacheonwang, and graphic patterns shown in the clothes of the main Buddha, such as Hwadangcho-mun(蓮花唐草紋), Gyeollyeon Geum-un(結連錦紋), and Galmo Geum-un(葛帽錦紋).
Fourth, similarities in painting styles of Dancheong are present. Although it follows the trend of the 19th century’s Dancheong, Ungnyeon-mun is depicted as a swirling flower. Five foliage of Pyeong-yeonhwa (a lotus flower) with Bae-jugi (a compound flower in between the petals of a lotus flower) and Hwang-bangul (a yellow bell-shaped pattern representing a stamen of a flower) with Soseul-mun are the features of the Dancheong of the Weolju division. Also, in the 19th century, in Muhricho (the head figure) of a ridgepole, outer Gopaengi usually surrounds Ju-munyang as a second layer, instead, the Weolju division puts Gopaengi (a spiral pattern in Dancheong) and Nok-hwa in two layers. Above this, the Weolju division favors using Bangseok Muhricho. Moreover, as the main pattern, it prefers to use Gyeollyeon Geum-un, and Soseul Geum-un. For an additional trait, the Weolju division often employs bat shaped Geum-un as a series of a continuous geometric pattern for Dancheong.
Fifth, Kijeon invented the Agyeo Dancheong technique for the Dancheong in Haein Temple Myeongbujeon (the Hall of the Bodhisattva of Hell.) This has been passed down to Wanho, then to Weolju, and finally to Sowoon. As a result, if a work is done with Agyeo (a glue used for painting), the exterior Dancheong can last for about 60 years, and the interior Danchoeng can be preserved for more than 134 years. The interior Dancheong of Naeso Temple Daeungjeon (the main hall) in the Buan region, which was originally painted in 1781, is still preserved for more than 230 years in a decent condition. From that fact, with high possibility, the Agyeo Dancheong of the Weolju division can continue to exist for more than two centuries.
The Weolju division can be summarized as below: the transmission of the Chocheop of Buddhist paintings, the clear relationship between its predecessor and successor based on existing documents, the similarities in the styles of Buddhist paintings and that of Dancheong. In summary, the division has passed down its legacy of Dancheong technique almost intact.
The Weolju division retains much of its traditional Buddhist painting methods, and this is well shown by its Dancheong. The Weolju division has been using Agyeo even up to now. Its styles of painting, related documents, and a long pedigree have been passed down over four generations, therefore its family-oriented transmission of the painting style is significant as it is.
Moreover, according to the result of the test among different types of glues used in Dancheong, natural Agyeo is more effective for the preservation of Dancheong compared to the other types of glues. To keep its quality, the environmental factor is also as important as the material aspects of the glue. Even with a fine resource, it is meaningless if one does not understand the proper usage of the material, and the layers will quickly fall off in a poor environmental condition. Based on the experiment, natural Agyeo is the most suitable glue for the Dancheong of wooden buildings.
From the scientific research on Naeso Temple Daeungjeon and its result, along with the reproduction based on the Dancheong technique of the Weolju division, except for the change in pigment reflecting its time, the conventional Dancheong technique and that of the Weolju division are known to be similar in their traits.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• 1. 연구 목적 1
• 2. 연구 범위 및 내용 5
• Ⅱ. 한국 근대기 불화의 현황과 특징 8
• 1. 근대기 불화의 현황과 제작배경 8
• 1) 근대기 불화의 현황 8
• 2) 근대기 불화 제작의 후원자 17
• 2. 근대기 불화의 특징 20
• Ⅲ. 월주문파(月洲門派)의 계보와 작품현황 64
• 1. 월주문파의 계보 64
• 2. 월주문파 불화의 현황 68
• 1) 수룡당 기전 68
• 2) 완호당 낙현 103
• 3) 월주당 지윤 133
• 4) 청운거사 소운 154
• 3. 월주문파 불화의 특징 168
• Ⅳ. 월주문파의 단청 현황과 기법 175
• 1. 월주문파 단청의 현황과 특징 175
• 1) 월주문파 단청의 현황 175
• 2) 월주문파 단청문양의 특징 218
• 2. 월주문파 단청의 기법 225
• 1) 월주문파 아교단청의 보존현황 225
• 2) 단청 기법 229
• 3) 단청기법 특징 248
• Ⅴ. 월주문파 단청의 현대적 재현 250
• 1. 단청 재료 251
• 2. 단청 교착제 실험과 조사 260
• 1) 단청 교착제 비교 실험 260
• 2) 아크릴 수지계 교착제의 폐해 269
• 3. 월주문파 단청의 현대적 재현 271
• 1) 재현 준비 271
• 2) 재현 과정 272
• Ⅵ. 월주문파 불교회화의 의의와 이후의 과제 299
• Ⅶ. 맺음말 304
• 참 고 문 헌 306
• 표 목 록 322
• 도 판 목 록 324
• ABSTRACT 340

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