朝鮮後期 山神圖 硏究 = A study on Sansindo in the late Joseon Dynasty

다국어 초록 (Multilingual Abstract)

Sansindo portrays painting of a personified mountain god, generally features sansin(the mountain god) in the guise of an elderly sage accompanied by a tiger. Image of dongja [a boy, 童子] and dongnyeo [a girl, 童女] that protected the mountain god besides him in this painting, most of the times holding offerings(供養物) or the sansin’s jimul[the things Buddha and Bodhisattva carry in their hands are symbolizing their power or mercy, 持物]. In the background of this painting, it is a common composition of the sansin seating under a pine tree suggesting of deep valleys, waterfalls, and rocks. Around the pine tree, a cloud was drawn to indicate the location of the sansin, and sometimes the mountain peaks and the sun are depicted together.
Sansindo is housed in an independent royal palace called Sanshingak (山神閣) or Sangryeokgak(山靈閣). However, if there is no separate royal palace in the temple, it is served with Dokseong[alone awakened, 獨聖] to the left and right of Chigunggwangyorye(熾盛光如來) in a royal place called Samsunggak(三聖閣) which has served him as the central Buddha. When the size of the temple was small, it is accompanied by Buddha, which was located in various royal palace such as Daeungjeon(大雄殿) and Bilojeon(毘盧殿).
Sansindo passed down today are mostly made after the late Joseon Dynasty, especially the works made in the 19th century. It was actively painted until after the first half of the 20th century and up to 500 paintings of the sansindo remain since then.
It was during the late Joseon Dynasty, popularity of the sansindo led to its mass production, illustrating the social aspects and belief system at that time. As most of the popular beliefs once did, the sansindo also developed in response to the religious demands of the common people. Confucianism which ruled throughout the Joseon Dynasty was not the cure for those lives of people and the pain.
For a long time, the people that suffered from aggression and natural disaster have fallen into Buddhism, Taoism, and various relief beliefs as a spiritual alternative to forget the pain of reality. As a result, the forms of faith such as Chilseong(七星), Sansin(山神), Kannon(觀音), Gujang(地藏), and Seiwang(十王) had been changed. It is presumed that the sansin had been also believed and prevalent in terms of blessing. The religious interests in the masses combined with the economic reasons for the temple led them into the temples. And a large number of temples had embraced the sansindo by the 19th century.
The earliest examples of sansindo that have been handed down to present date is the sansindo in Eunsin-am, which was built in 1788 and is in the collection of YongChu Temple(龍湫寺) in Hamyang-gun. Wangsansa's sansindo which painted by the same painter in 1791 has been passed on to Seongbo-Buddhist Museum in the Tongdosa-Temple(通度寺).
With the exception of these two works, most of the works had been produced in the 19th century and in the 20th century. In particular, the sansindo were made before the Independence including the Japanese colonial period account for half of the total quantity.
Regionally, more than half of the sansindo were produced in Yeongnam(嶺南) and Honam(湖南) Province. In addition, there are many other places in Seoul and Gyeonggi(京畿) Province.
Because of its aspects of small screen and simple components, the sansindo made it possible to work by a single person. The fact that the theme was based on local beliefs added to the personality expressions of the sansindo, and the humorous expressions were also possible. With these reasons combined, the sansindo was freely painted in comparison to the other Buddhist paintings. Although the works depicted by one artist were different from each other in style, they were distinct from each work. The fact that the personality of the painter revealed the individuality made it possible to guess the painter
of the work and the painter who influenced the painting. It is difficult to understand the locality of the sansindo. Even if they were drawn from the same painter group, the picture was produced a different style.
Especially, as the interaction between the development of modern transportation and the exchanges of painters becomes active, it is difficult to determine characteristic of some area.
Nevertheless, because there are some cases in which a number of works are produced by sharing a common image of a group of painters based on a particular area, so the locality of the sansindo can be partially confirmed.
The sansindo was intensively produced in the late Joseon Dynasty and the modern period, various painting elements that were popular at the time are displayed throughout the paintings. In the expression of tiger and props, various elements such as folk paintings and Chungnok landscape painting(靑綠山水) that were popular at the time were newly added and transformed, and they were influenced by new artifacts and paintings that came with the Open Ports in time.
The technique was also reflected on the western influences that was popular at the time, and all of these were made by the individual choice of painter, and as many as the number of painter were produced.

목차 (Table of Contents)

• Ⅰ. 머리말 1
• Ⅱ. 山神圖의 제작배경과 현황 7
• 1. 山神圖의 제작배경 8
• 1) 신앙적 배경 8
• (1) 관련기록 8
• (2) 경전 10
• (3) 민간신앙 측면 14
• 2) 사회·경제적 배경 15
• 2. 山神圖의 제작시기와 현황 18
• 1) 산신각의 건립기록 18
• 2) 현황 23
• (1) 시기별 현황 24
• (2) 지역별 현황 26
• Ⅲ. 山神圖의 도상성립과 전개 31
• 1. 山神圖의 화면구성 31
• 1) 산신 31
• (1) 성별 32
• (2) 복식 33
• (3) 상호 38
• (4) 지물 39
• (5) 두광 41
• 2) 호랑이 43
• 3) 시동·공양물 51
• 4) 산수표현·경물 55
• 2. 도상의 성립과 전개 57
• 1) 도상성립 이전 시기: 신패·경문 57
• 2) 고려시대 화엄경 변상도: 화엄신중 58
• 3) 조선후기: 신중도 62
• 4) 조선후기: 삼장보살도 68
• 5) 조선후기: 산신도 71
• 3. 주변국의 사례 79
• 1) 중국 79
• 2) 일본 81
• 3) 기타 83
• Ⅳ. 山神圖의 양식과 특징 85
• 1. 화파별 양식적 특징 85
• 1) 지리산 권역 87
• 2) 四佛山畫派 101
• 3) 鷄龍山畫派 132
• 4) 부산·경남지역 150
• 5) 서울. 경기 지역 165
• 2. 근대 회화적 요소 186
• 1) 궁중화와 민화의 영향 187
• (1) 십장생도 190
• (2) 책가도 193
• (3) 청록산수 196
• (4) 화조화·길상화 198
• (5) 까치 호랑이 200
• 2) 도상의 유입과 채색기법의 변화 202
• Ⅴ. 맺음말 212
• 【參考文獻】 216
• 【表 目 錄】 228
• 【揷圖目錄】 229
• 【圖板目錄】 234
• 【圖 版】 236
• 【附 錄】 243
• 【ABSTRACT】 269