조선후기 직지사 대웅전 벽화의 도상과 특징 = The Iconography and Characteristic of Wall Painting of Daeungjeon Hall at Jikjisa Temple in Late Joseon

다국어 초록 (Multilingual Abstract)

The Daeungjeon Hall at Jikjisa temple attracted attention long ago with wall paintings of various themes. Among them, as in the Avalokitevara riding a dragon, the Buddhist child riding a dragon, and the Avalokitevara Triad (Avalokitevara-Sudhana-Dragon King), there are many unique iconographies that cannot be seen in other temple wall paintings, which shows the originality of its value that is widely recognized as a representative work of temple wall paintings in late Joseon. This study examined the layout of the wall painting of the Daeungjeon Hall at Jikjisa temple, and explored the iconographical origin and development process of the painting which show differentiation from other temple wall paintings such as Avalokitevara riding a dragon, Buddhist child riding a dragon, Avalokitevara Triad, Chinese Monk Hansan(寒山) and Seupdeuk(拾得) painting, etc. Next, this study examined the compositional ages of wall paintings focusing on the Daeungjeon Hall’s rebuilding records and document records. Most of the wall paintings were created during the painting work Buddhist construction, which was centered on about 20 monk-painters who painted painting works including Seoljam(雪岑) and Seongjing(性澄) in 1713-14, and it was found that wall painting was partially made in the rebuilding period of the Daeungjeon Hall in 1735. However, some wall paintings, including the Avalokitevara riding a dragon and the Buddhist child riding a dragon, are showing characteristic of iconography and coloring of the post 19th century, and so it is considered that the repair and maintenance were partially performed after the rebuilding. The wall painting of the Daeungjeon Hall at Jikjisa temple is well preserved inside the wall painting including the wall painting behind the Buddha, and therefore, it is said that it is a representative work showing the production technique, style and various iconographies of temple wall paintings in the first half of the 18th century, and that there is a great value to the study of temple wall paintings in late Joseon.

참고문헌 (Reference)

1 "한국의 사찰벽화:충청남도 충청북도편" 문화재청․성보문화재연구원 2007

2 "한국의 사찰벽화:경상북도 2" 문화재청, 성보문화재연구원 2011

3 이용윤, "직지사 대웅전 내부 벽화의 도상과 조성시기, 한국의 사찰벽화:경상북도 2" 문화재청, 성보문화재연구원 2011

4 김수현, "조선시대 관음도상과 신앙 연구" 동국대학교 대학원 2006

5 김형곤, "선묘불화의 제작인식과 특징" 동국대학교 박물관 25 : 2014

6 "김천 직지사 대웅전 정밀실측보고 (상)(하)" 문화재청 2011

7 방병선, "雲龍文 분석을 통해서 본 조선 후기 백자의 편년 체제" 한국미술사학회 220 : 1998

8 "金山黃岳山直指寺御茟閣新建上樑文"

9 "金山黃岳山直指寺事蹟碑"

10 유경희, "道岬寺觀世音菩薩三十二應幀의 圖像硏究" 한국미술사학회 240 : 2003

11 이승희, "無爲寺極樂寶殿白衣觀音圖와 觀音禮懺" 동악미술사학회 (10) : 59-84, 2009

12 김미경, "朝鮮後期 觀音菩薩圖 硏究" 동아대학교 대학원 2014

13 유경희, "朝鮮後期 白衣觀音壁畵의 圖像과 信仰 硏究" 한국미술사학회 265 (265): 197-231, 2010

14 박은경, "新興寺 佛殿莊嚴 壁畵考" 한국미술연구소 (41) : 113-139, 2015

15 "慶尙道金山郡黃嶽山直指寺古禪宗大伽藍史蹟"

16 朴亨國, "中國における騎獅文殊と騎象普賢の成立と一對化過程に關する一試論" 密敎圖像學會 23 : 2004

17 김미경, "19세기 如來圖에 융합된 觀音菩薩의 新圖像 硏究" 동아시아문물연구학술재단 18 (18): 159-196, 2010