退雲堂 信謙의 佛畵 硏究

다국어 초록 (Multilingual Abstract)

During Chosun(朝鮮) dynasty there were some painter groups of Buddhist monks who were in the temple precincts and they took an active part in a designated region. These monk painters held drafts that were handed down from former ages in common and took form a regional style of Buddhist paintings. Also the style and trend of a Buddhist painting group become popular, were transplanted and fixed to another region through exchanges into Buddhist painting groups.
Among those, Sin-gyeom(信謙) left his great marks in Korean art history. This thesis is study on Sin-gyeom and his Buddhist paintings. They are as follows.
The first, Sin-gyeom who worked from 1788 to 1830 was both the first-rate Buddhist painter of Sabulsan (四佛山) painting group and a Buddhist painter of Bukhansan (北漢山) Jungheungsa (重興寺) which was Paldo (八道) monk army headquarters(都摠攝).
He gained not only the highest rank as a Buddhist painter, Jeung myeong beob sa (證明法師), but also a highest rank monk of Goun sa (孤雲寺), and was a greatest virtuous monk as a great esteemed prist to master the sutra and ritual scripture.
What is his authority is proved by ‘Bog ho ja Sin-gyeom je (福毫子信謙題)’ that is a seal, which is in his only draft with a signature and a seal. His parents name was ‘Seong-hae(性海)’ and ‘Ok-hyeon(玉賢)’ that was a Buddhist name, which means neither a monk nor a common person. He left about 50 works in Gyeong sang buk Do(慶尙北道), Chung cheong Do(忠淸道), Gang won Do(江原道), and Gyeong gi Do(京畿道).
The second, Sin-gyeom(信謙)'s style of Buddhist painting was much influenced by Hong-an (弘眼: 1762-1804) who was a master of Sa bul san (四佛山) Buddhist painting group. Also his style had a dynamic shape in a divine general statue as well as a slender and meticulous face in writing, and thick features with shade style. That style was affected by Seol-hun(雪訓)‧ Sang-gyeom(尙謙)‧ Min-gwan(旻寬) who were estimated at Yangjumock(楊州牧)'s Buddhist painters.
The third, Sin-gyeom(信謙)'s activity could be divided into the former and the latter term. The former term(1788-1809) was a studying period under Hong-an's painting style. It was Hong-an's style that a stairlike composition, thick features (ear, eye, mouth, and nose), a divine general statue with shade style, the sharp-pointed lower edges of a surplice, and a decoration of a gold necklace. He sincerely followed in the steps of Hong-an's painting style in the former term. In the small independent piece of paintings, however, he commanded the original icons and composition of a picture. That was what showed Sin-gyeom's style from his beginning.
The latter term (1813-1830) was regarded as a proficient period in his handwriting. During a representative Buddhist painter in Gyeong sang buk Do, he made lots of pictures that the face was slender and ordinary in a simple composition and framework. He created a lot of new icons and accomplished his ordinary Buddhist painting style, understanding sutra of Mountine sprites painting, Nectar ritual painting and Dead king paing.
When he made Jung heung sa(重興寺)'s Buddhist paintings as Buk han san (北漢山) Jung heung sa (重興寺) Buddhist painter, he created embodiment with enlarging and abridging the human body and a simple composition of picture. It was regarded as a typical pattern succeeding Buddhist paintings in 19c.
In the latter term, as he got a loan of line-perspective and motive of universal-paintings, he showed his curiosity on recent culture.
The forth, Sin-gyeom(信謙)'s feature embodied a extraordinary painting style as ‘maximization of the theme’, ‘a prompt representation’, ‘embodiment of power’ and ‘imitation and creation’. Especially, Sin-gyeom(信謙) preferred to a powerful feature that means to receive desire of all creatures. So he devoted himself to express a generally powerful picture through a complementary-color comparison between scarlet and green, using large iron-line(鐵線描). Also I noticed that during the latter part of the Chosun(朝鮮) period, Sa cheon wang sang(四天王像) was sincerely imitated the motive of that in Myeong(明) period of China through analyzing poses of Sin-gyeom(信謙)'s sin jang sang(神將像). As Sin-gyeom(信謙) had not only a profound knowledge of the sutra and ritual scripture but also a status of a greatest virtuous monk and a master painter of drawing drafts, he made his icons diversified, variative, profound and exact. I could confirm that he observed the ritual scripture in his paintings as Jeung myeong beob sa(證明法師) through 『Jung gan jo sang sutra(重刊造像經)』reprinted at Yu jeom sa (楡岾寺) in 1824.
The fifth, Sin-gyeom(信謙) composed securely Buddhist painting group of Sa bul san(四佛山) with Hak song dang Sun-jun(鶴松堂 禪俊) and Su-yeon(守衍) in the early 19c through examining Sin-gyeom's relation of Buddhist painting. Hak song dang Sun-jun (鶴松堂 禪俊) and Su-yeon (守衍) created clear pictures in coloring. It seemed to function very importantly to Sin-gyeom(信謙) whose feature was made clear pictures in coloring. This fact appeared when he painted Buddhist paintings of Jung heung sa(重興寺). At that time, he painted some reposing-soul temples in the castle of Buk han san(北漢山) with Hwa dang sin-sun(華潭堂 愼善) who was a first-rate Buddhist painter of Yong ju sa(龍珠寺) in Su won(水原).
The sixth, Sin-gyeom(信謙)'s Buddhist paintings influenced making Buddhist paintings in 19c for the next ; Rising Manjusuri boddisattva with lion, three strings on the headgear of the Buddha, some motives of a ceremonial monk with dynamic acting, Ten kings of Hell(The second king) draft in 1828, Sakyamuni painting draft in 1821. These fixed a traditional style of making Buddhist paintings in 19c. But his extraordinary and powerful painting style didn't succeed. I think that his orthodoxy, profundity and original creation on icons which were analyzed as a greatest virtuous and highest rank monk were unacceptable to coming generations of Buddhist painters. It seemed to have radical factors for them to accept.
Sin-gyeom(信謙)'s style that was extraordinary pictures, creative icons, and distinct Buddhist paintings became extinct except some motives and drafts. But his works left definite marks in not only Korean Buddhist painting history but also Korean art history. The concept of Buddhist painting in 19c can be summarized as diversifying, embodiment, realizing and self-expression of creative independence. It is important significance that he presented initiatively those.

목차 (Table of Contents)

• Ⅰ. 序論 = 1
• Ⅱ. 신겸의 활동과 화풍 형성 = 4
• 1. 작품 활동 = 4
• 2. 화풍 형성 = 17
• 1) 스승 弘眼의 영향 = 18
• 2) 경기 화사 尙謙의 영향 = 22
• Ⅲ. 신겸 작품의 전개와 양식적 특징 = 27
• 1. 시기별 전개 = 27
• 1) 전기(1788-1809) = 28
• 2) 후기(1813-1830) = 42
• 2. 양식적 특징 = 65
• 1) 화면 구성과 구도-주제의 극대화 = 65
• 2) 표현 기법-즉물적 표현과 ‘힘’의 구현 = 72
• 3) 모티브-‘전용’과 ‘창출’ = 85
• Ⅳ. 畵緣 關係와 활동 의의 = 104
• 1. 畵緣 關係 = 105
• 2. 19세기 불화 제작에 끼친 영향 = 112
• Ⅴ. 結論 = 117
• 【附錄】 = 121
• 【參考文獻】 = 134
• 【ABSTRACT】 = 142
• 【圖版目錄】 = 146
• 【圖版】 = 151