朝鮮末期의 畵僧 慶船堂 應釋 佛畵 硏究 = A Study on the Buddhist Paintings of Monk Painter Eugseok in the late Joseon Dynasty

다국어 초록 (Multilingual Abstract)

Gyeongseondang Eungseok was one of representative monk painters that were active in the Seoul and Gyeonggi Province around Heungguk Buddhist Temple in Namyangju, which was a school for Buddhist painters, in the second half of the 19th century. He gave his first example in 1853 and continued to be creative with Buddhist paintings until 1912. His remaining works include 91 Buddhist paintings in 53 cases and eight extracts. As for his Saseung relations, Beopmaek and Hwamaek were formed at Heungguk Buddhist Temple in Namyangju with him spending his active time at the temple or in the Mt. Surak.
This study divided the development of his painting style into three periods, which include the period of searching(1853-1858), when he sought after his own style after accepting previous Buddhist paintings, that of establishment(1859-1889), when he established his own style by inheriting the styles and icons of previous Buddhist paintings, and that of maturity(1890-1912), when his style reached a climax with new attempts. He was active as an assistant painter in the period of searching.
Entering the period of establishment, he took on his new role as the chief painter. Not only did he inherit and alter the icons of previous Buddhist paintings, but he also made a good number of extracts. He repetitively used his basic icons of Buddhist paintings, which were later adopted by his fellow painters that formed Hwayeon relationships with him and thus spread around Seoul and Gyeonggi Province. Entering the period of maturity, Eungseok refined his mature style further with his improved skills from the period of establishment and made further development by making an attempt at a new style of screen division and Western techniques.
He, however, had his share of limitations as he stuck to the traditional style of Buddhist paintings and was passive about using the Western styles instead of applying a completely new style to his Buddhist paintings. There is no doubt that he was a painter that reflected the periodic features of Buddhist paintings unique to late Joseon by accepting new icons and utilizing the extracts, but he remained at the level of inheriting the old icons of Buddhist paintings and continuing the traditional style rather than creating a new style of Buddhist paintings by absorbing the new products of Western civilizations that flooded in Joseon after it opened its ports.
The study examined the characteristics of his Buddhist paintings in terms of style according to screen composition, form, and expression and technique. As for screen composition, his Buddhist paintings are distinct with the highlighted sacred image of Buddha and the division of screen. As for form, the study looked into his Buddha appearances and motifs and found that he was similar to other painters at the end of the 19th century in the appearances of Buddha and Bodhisattva. He was, at the same time, different from them as his Buddhas had more slanted eyes to express the eyes of Buddha in absorption more dramatically. In his Shinjungdo, the appearances of Witaecheon looked like those of a child with changes to those of Buddha and Bodhisattva. As for motif, the investigator examined the Buddhist altars that contained Mokrimun, which made repetitive appearances in his Buddhist paintings, and the motifs of his Buddhist paintings in different versions. As for expression and technique, the study examined the decorativeness of his Buddhist paintings and his techniques.
The study finally delved into the reasons behind the spread of his style by first following the Hwamaek of painters that were active at Heungguk Buddhist Temple in Namyangju, finding that a style was passed down from Minhong, who was recognized enough to get included in the national public service projects at the end of the 18th century, to Ssangwoon Heewon, Subong Beopchong, Wolha Sewon, Jungbong Hyeho, Geumgok Yeonghwan, and Gyeongseon Eungseok. Given that Eungseok was a recognized model painter at Heungguk Buddhist Temple in Namyangju, which was the royal Wonchal and famous for producing Buddhist painters in the late 19th century, it seems that the icons of his Buddhist paintings were in vogue through the painters that formed Hwayeon relationships with him. In addition, he was also able to preside over Buddhist rituals sponsored by the royal family and influential individuals because he had Heungguk Buddhist Temple, the Wonchal of royal family, behind him.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 應釋의 作品 活動과 師承關係 5
• 1. 活動時期와 作品 現況 5
• 1)活動時期 5
• 2)作品現況과 活動地域 9
• 2. 師承關係 20
• Ⅲ. 應釋 畵風의 成立과 變遷 29
• 1. 摸索期(1853-1858):先行佛畵의 受容과 變容 29
• 2. 確立期(1859-1889):獨自的 畵風의 成立 36
• 3. 完熟期(1890-1912):새로운 畵風의 試圖 56
• Ⅳ. 應釋 佛畵의 樣式的 特徵 76
• 1. 畵面構成 76
• 2. 形狀 81
• (1)相好 81
• (2)모티프의 活用 84
• 3. 表現과 技法 88
• Ⅴ. 應釋 畵風의 擴散 91
• 1. 南楊州 興國寺의 出草畵師 91
• 2. 佛畵 發願者와 畵緣關係 96
• Ⅵ. 맺음말 106
• 【參考文獻】 109
• 【表·附錄·揷圖目錄】 116
• 【圖版目錄】 119
• 【圖版】 123
• 【附錄】 140
• 【Abstract】 168