錦湖堂 若效의 佛畵 硏究 = A Study on Buddhist Paintings of Geumhodang Yakhyo

다국어 초록 (Multilingual Abstract)

Geumhodang Yakhyo(錦湖堂 若效) was a monk painter who was active in mainly Chungcheong-do, and the rest of the country from the late 19th century to the early 20th century. Notably, while in the times before the 19th century, most of Buddhist paintings of Chuncheong-do were produced by monk painters from other regions, Buddhist paintings of the region were produced in the 19th century, led by Yakhyo; thus, Yakhyo is very important in examining Buddhist paintings of Chucheong-do. Of contemporary monk painters, Yakhyo left the largest number of Buddhist paintings, and the painting styles of other monk painters discontinued, but that of Yakhyo has continued until now, making his works significant in studying recent modern Buddhist paintings.
Yakhyo was a monk of Magoksa Temple. His surname is Kim, his Buddhist name is Yakhyo, and his Buddhist alias is Geumhodang. His exact date of birth is not known; however, he was born in the 1840s, and died in 1928.
It is believed that Yakhao, staying at Magoksa Temple, produced Buddhist paintings together with painters from the Gyeonggi-do region since 1878. Although exact data concerning Yakhyo's relations with his private teachers do not exist, his direct and indirect relations with Chundamdang Bongeun(春潭堂 奉恩) can be found in his works. His works are believed to have been influenced by prior works produced in Chungcheong-do. As such, Yakhyo mastered diverse painting styles of the time, thereby exploring his own painting style.
Since 1883, Yakho, as a head painter, traveled Chungcheon-do and the rest of the country, and actively performed painting activities. During this period, he accepted the painting styles of the former periods, and made exchanges with other painters, thereby accepting the subsequent influences, creating his own painting style, and producing unique works.
Yakhyo's painting style involves expressing human bodies with brown, and limiting ink lines to the expression of eyes, nostrils, etc. Although his style is different from conventional Buddhist paintings where contours are wrapped up with thick ink lines, his determination to express with lines follows the conventional Buddhists painting style. Thus, given his Buddhist paintings, Yakhyo is thought to be a painter that emphasizes tradition.
On the other hand, his works produced since 1893 show both conventional and new trends. Western painting styles involve expressing figures, sense of space and sense of distance, using sides rather than lines, and they began to appear in many Buddhist paintings since the second half of the 19th century. New painting styles were shown in (Gamno) Buddha painting of Hogukjijangsa Temple produced in 1893. Western painting styles appeared in some elements such as clouds in 1893, but, afterwards, expanded into the realistic expression of the face, clothes and shadows.
Since 1892 when he produced Buddhist paintings at Simgoksa Temple, he was active together with painters such as Jeong Yeon(定淵) and Mun Seong(文性) from 1893 to late 1924, suggesting that since that time, he formed his own circle in conducting artistic activities. Notably, these painters used Western painting styles, suggesting that the Western painting styles shown in Yakhyo's Buddhist paintings were apparently influenced by them. Yakhyo allowed painters of Western painting styles to participate in his artistic activities, thereby serving as a bridge of connecting tradition and new trends, namely, Buddist paintings of Joseon's second half and recent modern times.
This coexistence of painting styles shows a tendency to divide Yakho's Buddhist paintings. Painting styles were different although same monk painters of the same times produced Buddhist paintings at same temples. This tendency can be found at Beomeosa Temple in 1905, at Yeongguksa Temple in 1907, and at Gapsa Temple in 1910.
Yaksa, through exchanges with painters, accepted prior iconographies and used same iconographies. <Gamnowang (Buddha) (1893)> of Hogukjijangsa Temple accepted the iconographies of the 18th century, while <Geuknakgupum (Paradise in Nine Section Screen)(1893)> of Hogukjijangsa Temple, and <Seokgaseolbeop (Buddha's Sermon) (1910)> at Palsangjeon Hall of Gapsa Temple accepted iconographies of Gyeongsang-do, Seoul and Gyeonggi-do regions. Using same iconographies, <Sansin (Mountain Deity>, <Dokseong>, and <Chiseongwangyeorae> were produced. Rather than creating new iconographies, Yakhyo established his own iconographies, and used them in same themes, characterizing his works.
For stylistic characteristics, shapes and coloring skills can be cited. Shapes were expressed differently between the second half of the 19th century and early 20th century; as the time approached the 20th century, he established his own shapes. Through the characteristics of shapes, Yakhyo's own works and works influenced by Yakhyo can be analogized. As discussed earlier, Yakhyo expresses shapes and others using lines, and brush lines are a very important factor in traditional Buddhist paintings. The use of such brush lines was well manifested in the expression of shapes of Yakhyo's Buddist paintings; this skill was used in the expression of monk's robes, heavenly clothes, etc., as well as in the expression of waterfalls in <Sansin>, <Dokseong> and so forth, and in the expression of patterns. In <Chiseonggwangyeorae>, the lozenge-shaped halo motif presents the complicated composition full of Buddhist followers in a group, making them easily recognizable, and suggesting the excellent composition ability of Yakhyo. Notably, the lozenge-shaped halo motif was transferred to painters associated with Yakhyo.
Given that other painters' painting styles have not survived to present day, Yakhyo has been able to transfer the styles of Buddhist paintings to present day, making him very important. This was made possible not only because Yakhyo had a good character, but also because he used tradition and new trends in producing Buddhist paintings allowing painters of Western painting styles to be active together.
This study revealed the characteristics of Yakhyo's Buddhist paintings, and the trends of then Buddhist paintings. A study on Yakhyo's paintings and exploration of relevant data defined the position of Yakhyo in the history of late Joseon Buddhist paintings and recent modern Buddhist paintings.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 生涯와 作品 活動 5
• 1. 生涯 5
• 2. 作品 活動 11
• 1) 作品 現況 11
• 2) 活動 地域 20
• Ⅲ. 畵風의 形成과 展開 26
• 1. 畵風의 形成 26
• 1) 畵風의 摸索 26
• 2) 獨自的 畵風의 形成 35
• 2. 畵風의 展開 49
• 1) 代表的 佛事 現況 49
• 2) 傳統과 新傾向의 共存 64
• Ⅳ. 圖像의 受容과 變容 樣相 77
• 1. 先行 圖像의 受容과 變容 77
• 2. 獨自的 圖像의 確立과 活用 87
• Ⅴ. 樣式的 特徵 97
• 1. 形狀 97
• 1) 佛.菩薩 97
• 2) 山神.獨聖 101
• 2. 彩色技法 105
• 3. 모티프의 活用 109
• Ⅵ. 畵脈의 形成 112
• 1. 湖隱堂 定淵 113
• 2. 普應堂 文性 115
• Ⅶ. 맺음말 118
• 參考文獻 123
• 揷圖目錄 131
• 圖版目錄 132
• 圖版 138
• 附錄 187
• Abstract 215