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홍은미(Hong Eun Mee) 사)동북아불교미술연구소 2020 불교문화재연구 Vol.1 No.
일제강점기에 일본불교의 유입과 총독부의 사찰령공포, 서구의 새로운 문화양상 도입 등으로 한국사회와 불교계는 선풍진작운동을 전개시켜나가고자 했으며 재가불교, 거사불교 세력이 형성되어나갔다. 이러한 변화의 흐름 속에서 향천사는 1924년 야외에서 봉행하는 의식에 필요한 불화 18점을 조성했다. 불화를 조성하던 당시 향천사의 주지는 금계 동영이었으며 불화조성에 참여한 수화승으로는 금호약효, 화승으로는 정연, 목우, 몽화, 경인, 재찬, 내순 등이 동참하였다. 수화승 금호당(錦湖堂) 약효(若效)는 19세기 후반부터 20세기 초반까지 활발하게 100여점이 넘는 불화를 제작하였다. 약효의 작품은 화풍에 있어서 전통 불화를 지향하면서도 근대불화요소인 서양화법이 공존하는 양상을 보인다. 약효가 제작한 1924년 조성된 향천사 불화들은 보응문성과 금용일섭으로 이어지는 불화승 계보연구와 미술사연구에도 중요한 요소가 될 것이다. 한편, 향천사괘불과 의식용 장엄불화에 묵서된 화기에 의하면 불화조성에 참여한 재가불자 시주현황을 확인할 수 있다. 시주자 집안의 핵심인물 을축생 김진섭은 향천사 불화조성 당시 예산지역에 거주하면서 호서은행을 창립하고 다년간 두취(은행장)로 활약하였으며 예산농촌청년훈련소에 1만원을 기부하기도 했다. 1930년대에는 <오대산석존정골탑찬양지회> 활동에도 동참하였던 재가 불자이다. 본 연구에서는 1924년 조성된 향천사 불화를 통해서 근대기 변화의 흐름 속에서 조성된 불화의 새로운 경향과 근대적 요소를 찾아 보았으며 아울러 사찰 후원 등에 관한 문헌과 자료를 찾아 재가불자들의 향천사를 비롯한 사찰불사에 후원한 의미를 미력하나마 밝힐 수 있는 계기를 마련하였다. Founded in 652 by the monk Uigak, Hyangcheonsa Temple has been regarded as an important temple in the Yesan area since the Joseon Dynasty. In the Hyangcheonsa Historical Book, it is recorded that the work to paint the Mita Kannon Saeji Samjonsang (Three statues of Amita, Avalokitesvara and Sthamaprapta Bodhisattva) and the main Buddha statue in Cheonbuljeon with gold and plaster was completed in order to restore the temple in 1911, during the Japanese colonial period. During this period, the Korean society and the Buddhist community have tried to maintain and propagate the Zen tradition in responding to the influx of Japanese Buddhism, the government-general's promulgation of temple decrees, and the introduction of new cultural aspects from the West, and thereby lay Buddhist groups and especially laymen-led Buddhist groups were formed. These lay Buddhist groups have emerged as a leading force rather than a role for assisting the monastics while advocating the modernization of the society and popularization of the modernization of Buddhism. In the midst of these changes, 18 tangkas necessary for outdoor rituals were created in the Hyangcheonsa in 1924. At the time when the Buddhist painting was created, the head of the Hyangcheonsa was Keum-gye Dong-yeong. Geumhodang Yakhyo was the leading monk painter and the monk painters like Mokwoo, Monghwa, Gyeongin, Jaechan, and Naesoon have participated in the work of the Buddhist painting. The leading monk painter Geumhodang Yakhyo has led the work for 18 Buddhist paintings. He began with Seokgaseolbeopdo (the tangka of the Sakyamuni Buddha giving dharma talk) in Bongyeongsa in 1879 and painted the Seokgaseolbeopdo in Magoksa and the Gwaebultaeng (Buddhist ceremonial painting) in 1924. He actively produced more than 100 pieces of Buddhist paintings from the late 19th century to the early 20th century. In Chungcheong province, a number of the Buddhist paintings have been produced by Yakhyo and his disciples who were part of his school formed since Yakhyo has worked in earnest. Yakhyo, who was active as a leading monk painter from 1883 to 1924, established his own icon and used it in his works. Particularly, Yakhyo's works show a pattern in which the modern Buddhist elements seem to coexists with the art of western painting while oriented towards traditional Buddhist paintings. I think that the work of creating Buddhist paintings in collaboration with the apprentice is more meaningful because the Buddhist paintings of Hyangcheonsa created in 1924 were led by Yak-hyo to explore their style and characteristics. It will be an important factor to the research on the genealogy of Buddhist monk painters and Buddhist art history, followed by Munseong Boeungdang and Il-seop Kim. On the other hand, a document written on Gwaebultaeng and Buddhist painting for ceremonies of Hyangcheonsa shows the list of lay Buddhists who have donated to work of the Buddhist paintings. It is necessary to look closely at the Kim Jin-seop family among them. Kim Jin-seop, his wife, Ms. Jang, two sons and their wives were on the list. Key donor Kim Jin-seop was born in Mapo, Seoul in 1865 to Kim Hong-seong and his wife Ms. Jeong from Jinju. At the time of the creation of the Hyangcheonsa Buddhist painting, he founded Hoseo Bank while living in the Yesan area, and played an active role as the head of the bank for many years, and donated 10,000 won to the Yesan Rural Youth Training Center. By establishing Yukyeonghoe, he took the lead in education and charity projects, and after the creation of the Hyangcheonsa Buddhist painting, he continued to support Buddhist temples. In the 1930s, he participated in the activities of the Odaesanseokjon Jeonggol Tower Praise Branch. In this paper, a new trend and modern elements of the Buddhist painting created in the modern times were identified through the Hyangcheonsa Buddhist painting created in 1924. Lay Buddhists’ contributions were examined centering on the Kim Jin-seop family appearing in the donor list. In addition, it provided an opportunity to disclose the significance of lay Buddhists’ sponsorship for Buddhist temples including Hyangcheonsa Temple by searching for documents and materials related to temple sponsorship.
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