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과학적 분석에 의한 은해사 괘불탱의 상태 및 재료 해석
이은우,경유진,윤지현,권윤미,송정원,서민석,이장존 한국문화재보존과학회 2019 보존과학회지 Vol.35 No.6
본 연구는 은해사에 소장되어 있는 보물 제1270호 은해사 괘불탱에 대한 과학적 조사와 분석을 실시하여 보존 상태, 재질 및 채색 안료 등에 대한 성격과 특징을 해석하고자 하였다. 대상의 미술사적 배경을 짚어보고 보존적 측면의 상태조사 및 안료 색상별 재료적 특성을 알기위한 분석을 실시하였다. 그 결과 연백, 연단, 활석, 진사, 석황, 금, 녹염동광, 공작석, 회청 등의 무기안료와 먹 등의 유기염료를 사용하여 다채로운 색을 구현한 것으로 확인되었다. 바탕화면은 조선시대 불화의 재료로 흔치 않은 초(綃)를 사용한 것으로 확인되었다. 또한 백색 채색층은 여러 종류의 백색계열의 안료를 사용한 형태로 이는 괘불탱 백색 채색으로는 드문 사례라 할 수 있다. This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used “cho” as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.
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보은 법주사 <괘불탱>의 미술사적 특징과 채색 안료의 과학적 분석 연구
이장존,경유진,이종수,서민석 국립문화재연구원 2019 헤리티지:역사와 과학 Vol.52 No.4
Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 andfeatured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist paintingand was created by Duhun, a painter who was representative of 18th century Korean artists. His other remainingwork is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they areassumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing,while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not onlypainted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin,also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served asa basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried womenis noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the yearof Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin andPrincess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. Theconnection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting,reading “JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever).”While looking into the historical characteristics of this art, this study took an approach based on scientificanalysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigmentspalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to theresults of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigowere used for black. For red, cinnabar and minium were used independently or were combined. For purple, organicpigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted overwhite lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite andmalachite was used. Azurite and smalt were used separately or together as blue pigments.
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