南陽州 興國寺 佛畵 硏究 = A study on the Buddhist painting of Namyangju Heungguk temple

다국어 초록 (Multilingual Abstract)

This study set out to investigate Buddhist paintings and painters related to the Heungguk Buddhist Temple is located in Namyangju, so called Namyangju Heungguk Buddhist Temple(南楊州 興國寺) to understand the Buddhist paintings of Seoul and Gyeonggi. Chapter II reviewed the history of Namyangju Heungguk Buddhist Temple, which was built as the Neungching Buddhist temple of Deokheungdaewongun(德興大院君), who is the father of King Seonju, and whose title was changed to "Heungguk Buddhist Temple" in 1626. It was also called "Deoksa"(德寺) being a great favor of the royal family in terms of support since the reign of King Jeongjo. In fact, its remaining buildings, paintings and records show the source of the royal family. Its records specifically tell that it was also called "7 Gyujeongso"(七糾正所) being appointed as the Buddhist temple to govern and supervise Buddhist temples around the nation in the latter half of Chosun. Its economic affluence made it the pillar of the mountains. Chapter III divided the Buddhist paintings of the Namyangju Heungguk Buddhist Temple into the categories of Bulsal(佛事) and Bodhisattva, Shinjunghwa, and others and examined them according to icon characteristics and expressive techniques.
Chapter IV examined the development patterns of the Buddhist paintings of the Namyangju Heungguk Buddhist Temple according to the icon flow and painters' activities. Section IV-1 focused on the formation process of the icons of the temple's Buddhist paintings through the acceptance and alteration of icons and looked into their inheritance by the paintings since the latter half of the 19th century. Section IV-2 covered the relationships between the Namyangju Heungguk Buddhist Temple and painters and further their activities. The temple had a long reputation for its hosting of many painters, thus being called the "training center of painters." Its hanging boards indicate that many painters who engaged in activities in Seoul and Gyeonggi in the latter half of the 19th century stayed at the temple at the same time. The fact that its Buddhist paintings served as models for other Buddhist paintings suggests that the temple played an important role for painters in the latter half of the 19th century. Those painters were examined according to the former and latter half of the 19th century; those from the former half of the 19th century were usually the Buddhist monks of the Hwanseongdang Jian(喚惺堂 志安) clan in Gangwondo and engaged in activities around the Bongeun Buddhist Temple during the period. Since there were not many Buddhist temples, few records remain today. However, it is definite that those painters who engaged in activities in Seoul and Gyeonggi such as Hyeho, Sewon, and Chejeong came from the same clan. Such painters as Yeonghwan and Eungseok participated in large-scale Buddhist paintings as chief painters since the 1860s. Following them, Jaegeun, Geungsun, Seoik, Chehun, Cheongi, Bonggam, Eungryun, Geungbeop, and Dunbeop who used to participate in Buddhist paintings as Dongcham painters started to serve as chief painters since the 1880s. Chapter V sorted out the Buddhist paintings of Seoul and Gyeonggi and looked into the meanings of the paintings of the Namyangju Heungguk Buddhist Temple further. Section V-1 examined the social background for the abundant productions of Buddhist paintings in those regions in the 19th century and changes to the donator groups. Chosun discarded the old policy of suppressing Buddhism and started to show much interest in it.
Buddhist priests engaged in more active activities than before and had exchanges with such Confucian scholars as Kim Jeong-hee and Jeong Yak-yong, also striving to publish books, which well demonstrates Buddhism gradually evolving into a popular religion. In addition, the donator groups grew diverse; the queens and royal concubines used to be the sole donators, but the kings including King Jeong-jo began to offer their direct supports to the religion. Furthermore, the maternal relations of the kings who had power in their hands began to offer their donations to the religion along with the families in power and the private sector. Section V-2 examined the production patterns and styles of Buddhist paintings of Seoul and Gyeonggi in the 19th century as they were different from their counterparts before. Before the former half of the 19th century, the Buddhist paintings of Seoul and Gyeonggi were usually commissioned by the royal family and created more within the capital city than outside it. Entering the latter half of the 19th century, the Buddhist paintings can be characterized by "canvas simplification,"(畵幅 幹略化) which refers to the tendency of putting different paintings which used to be painted in different canvases in one canvas. Another characteristic, "sharing of icons"(圖像 活用•共有) suggests that the painters accepted and shared the old icons instead of creating new ones. The painters of Seoul and Gyeonggi had more active exchanges with one another compared to those of other regions, which means that sharing of icons can be one of the characteristics of the Buddhist paintings of Seoul and Gyeonggi in the 19th century. In the latter half of the 19th century, those paintings exhibited a strong tendency of filling up every inch of a canvas in the composition. The painters would frequently use such motifs as folding screens and clouds to fill up any empty space on the canvas or make the Buddha images bigger and bigger. The final characteristic of the paintings of Seoul and Gyeonggi in the 19th century is decorativeness, which can be observed in the excessive adoption of patterns. The above-mentioned strong tendency of filling up every inch of a canvas also expands to the uses of patterns. In particular, all the paintings of the latter half of the 19th century filled the Gasadans with patterns, one of which is Banwongwonmun, the schematized version of Banhwamun.
The significance of the study lies in that it examined and arranged the meanings of the Buddhist paintings of the Namyangju Heungguk Buddhist Temple in Seoul and Gyeonggi and sorted out the Buddhist paintings and painters of Seoul and Gyeonggi, which used to lack arrangement, around the Namyangju Heungguk Buddhist Temple. Future study needs to further investigate the parts excluded in the study for not being related to the Namyangju Heungguk Buddhist Temple.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 南楊州 興國寺의 沿革 6
• 1. 南楊州 興國寺의 歷史 6
• 2. 南楊州 興國寺의 後援者 12
• Ⅲ. 南楊州 興國寺의 佛畵 26
• 1. 佛·菩薩畵 26
• 1) 掛佛畵 26
• 2) 釋迦說法圖 29
• 3) 藥師十二神將圖 31
• 4) 熾盛光如來說法圖 34
• 5) 釋迦八相圖 36
• 6) 地藏十王圖 40
• 2. 神衆畵 42
• 1) 大雄寶殿 神衆圖 42
• 2) 回龍寺 소장 神衆圖 45
• 3) 大房 神衆圖 47
• 3. 其他 49
• 1) 甘露王圖 49
• 2) 十六羅漢圖 53
• 3) 現王圖 57
• Ⅳ. 南楊州 興國寺 佛畵의 展開樣相 59
• 1. 圖像의 展開 59
• 1) 圖像의 受容 59
• 2) 圖像의 變容 72
• 3) 圖像의 繼承 79
• 2. 南楊州 興國寺와 畵師 96
• 1) 聯關關係 96
• 2) 畵師의 活動 104
• Ⅴ. 19世紀 서울·경기지역의 佛畵와 南楊州 興國寺 133
• 1. 社會的 背景 133
• 1) 佛敎係 商況 133
• 2) 施主階層의 變化 138
• 2. 制作樣相과 畵風 152
• 1) 佛畵 造成에 따른 分類 152
• 2) 19世紀 서울·경기지역 佛畵의 畵風 156
• 3. 南楊州 興國寺 佛畵의 特徵 170
• Ⅵ. 맺음말 174
• 參考文獻 179
• ABSTRACT 270