朝鮮後期 四佛山佛畵 畵派의 硏究 = (A) Study on Sabulsan (四佛山) Buddhist Painting School in Late Chosun Dynasty

다국어 초록 (Multilingual Abstract)

1. Formation of Sabulsan Buddhist Painting School
Sabulsan Buddhist Painting School was based on Kimryong-sa金龍寺 and monk painters in this school worked in Moonkyung問慶, Sanju尙州, and outskirts of Kyungsangbukdo慶尙北道 Province. There were almost 10 monk painters named Hongan弘眼, Shinkyum信謙, Eungsang應祥, Bongsoo奉秀, Bupim法任, Jincheol震徹, Bongwha奉華, Sangno相老, Sangwhui尙休, and Changhun昌昕 who has been head painter(Gold Fish-金魚) between early of 19th and early of 20th century. I investigated their paintings and verified the characteristics of Sabulsan School.
Hongan弘眼 was a pioneer who organized Sabulsan School. His painting has distinctive characteristics such as square composition and bright coloring using light red color.
Shinkyum信謙 was a successor of Hongan and one of the leader of Sabulsan School after Hongan's death. He accomplished most of his masterpiece under the Hongan's influence. Based on the thirty year differences of working period with Hongan, Shinkyum might be a student of Hongan.
Eungsang應祥 is another great monk painter of Sabulsan School, but I couldn't find any related monk in the painting record who influenced him. However, his influence to the monk painter of Sabulsan School such as Bongsoo奉秀, Dowoo到雨, Jeongan正眼, Kijeon璂銓, Minjung珉淨, Jungin正仁, Bupim法任, Bongwha奉華, etc, was strong and he was known as representing monk painter who leaded the most flourishing activity of Sabulsan School. For instance, Bongsoo worked in the same period under the influence of Eungsang. Also, Kijeon's work was originated from Sabulsan School even though he worked in Haein-sa海仁寺.
Jincheol진철 started his work in Kyunggi京畿道 province but he developed his career cooperated with Sabulsan School. He worked with Bongsoo and his style influenced Sangwhui and Changhun.
Bongwha봉화 was taught by Eungsang and he was also one of the best monk painter who left his great paintings in Bopju-sa.
Sanghui상휴 was a student of Jincheol and he was faithful on the traditional painting style of Sabulsan School who took important role to link into 20th century.
As I described, Sabulsan School is one of the most important Buddhist Painting School of late Chosun Dynasty and their influence was wide and strong.
2. The Characteristics of Sabulsan Buddhist Painting School
There remains almost 200 paintings in many temples and their characteristics is as follows.
First, The Buddhist Painting of Sabulsan School can be categorized as one of Buddhist Painting School. The monk painters of Sabulsan School who worked during 19th century, such as Hongan, Shinkyum, Eungsang, adopted different styles exchanging with the School of Kyunggi province. For example, Jincheol and Sanhui left their paintings in the temple of Kyunggi province. There were active exchange between province and they developed some similar style in this period.
Second, Sabulsan School liked to include many characters in their paintings. In square composition, they arranged their characters in the several horizontal lines. And then the developed into free composition under the exchange with Kyunggi province in the Period Ⅲ.
Third, most of characters of Sabulsan has slim body and well-rounded face This is the contrast with the dignified characters of Cholla province in same period and Sabulsan characters has more friendly face rather than Kyunggi province.
Forth, Sabulsan School painters used bright red color mainly and they harmonized with green, dark blue, and gold.
Fifth, until Japanese colony, Kimryong-sa was head temple controlling Jikji-sa and it was the main temple of Sabulsan School. Therefore, Sabulsan School and their works has been the profound significance in the development of Buddhist paintings in late Chosun Dynasty.

목차 (Table of Contents)

• 目次 = ⅰ
• Ⅰ. 머리말 = 1
• 1. 硏究目的 = 1
• 2. 硏究의 內容 및 方法 = 3
• Ⅱ. 四佛山지역 佛畵의 造成背景 = 4
• 1. 四佛山의 寺刹 = 4
• 2. 四佛山地域의 佛敎 = 9
• Ⅲ. 朝鮮後期 四佛山 畵僧과 作品의 圖像的 特徵 = 12
• 1. 弘眼(활동연대:1762~1804) = 12
• 2. 退雲堂 信謙(활동연대:1790~1830) = 19
• 3. 雲隱堂 應祥(활동연대:1855~1890) = 26
• 4. 影雲堂 奉秀(활동연대:1868~ 1906) = 34
• 5. 月山堂 法任(활동연대:1880~1897) = 39
• 6. 東昊堂 震徹(활동연대:1883~1906) = 42
• 7. 山草堂 奉華(활동연대:1887~ 1897) = 49
• 8. 退緋堂 相老(1879~1965) = 53
• 9. 幻月堂 尙休(활동연대:1904~1920) = 56
• 10. 海城堂 昌昕(활동연대:1901~1939) = 59
• Ⅳ. 朝鮮後期 四佛山佛畵의 樣式的 特徵과 變遷 = 64
• 1. 제1기 : 四佛山佛畵의 確立期 = 65
• 2. 제2기 : 四佛山佛畵의 發展期 = 69
• 3. 제3기 : 近代佛畵로의 移行期 = 72
• 4. 제4기 : 近代佛畵의 展關 = 75
• Ⅴ. 朝鮮後期 四佛山派의 美術史的 意義 = 79
• 1. 四佛山 畵派의 形成意義 = 79
• 2. 四佛山 畵派의 美術史的 意義 = 81
• Ⅵ. 맺음말 = 82
• 參考文獻 = 84
• ABSTRACT = 89
• 圖版目錄 = 92
• 圖版 = 95