불화의 초본(草本) 제작과 등초(謄草) 방법 연구 = A Study on Making an Initial Sketch of Buddhist Painting and How to Transfer the Sketch on the Base Material

다국어 초록 (Multilingual Abstract)

A major characteristic of Korean traditional colored painting is that it is a craft-style painting that has a purpose of decorating a space or conveying a meaning and also used for wishing for a good fortune and at the same time it is consumables, so similar images were repeatedly made. In that respect, Buddhist painting and court painting have many similarities. However, it cannot be denied that, although court paintings today lose their purpose and inherit only decorativeness, Buddhist paintings are the only Korean traditional colored paintings that continue to be produced and enshrined without losing their original purpose.
Compared to court paintings, where the production process can be studied relatively in detail because there are many documents, the records showing the production process of Buddhist paintings rely on records that are mostly names, so research on the production process was insufficient compared to studies of iconography and doctrine. And most of the research was focused only on the result, focusing only on the iconographic interpretation and the distinction of style, so research on the production process had just begun.
Although the sketch is the most important key element in the making of Buddhist paintings, not much research has been done on it and, moreover, there has been no study from the perspective of making and using the actual sketch. This part was difficult to access because it was inevitable to study from the perspective of the actual producer, and it is undeniable that it is difficult to develop logic that can be used by producing different methods and processes from the perspective of the actual producer.
It is true that the characteristics of current traditional techniques and materials have been lost and changed in many areas during the Japanese colonial period, so it is difficult to distinguish which is actually traditional. However, if any action has been repeated or inherited from the past to the present, there is something in common or inherited to some extent even if it has disappeared to some extent. Therefore, although research on the production process of Buddhist paintings is unfortunately non-existent on the record, based on the current production method, a clue was found in the records of court paintings with similar purposes and characteristics to scientific analysis.
The term Chobon (草本: chqhsinitial sketch) begins to appear during the war recovery period, after going through the Japanese Invasion and the Manchu war of 1636. In court paintings, it first appeared in the records of the process of making a portrait in the middle of the 17th century in the royal records, 『The Annals of the Joseon Dynasty』 and 『Seungjeongwon Ilgi』(the Diaries of the Royal Secretariat), and in Buddhist paintings, it began to appear in the mid-18th century in Hwagi (畵記: record of painting process). This must have been one of the preparations for the painters of the Joseon Dynasty, who had an "experience of disappearing everything" that was not known before the war.
In order to confirm the exchange between the Hwawon (畫員: court painters) and the Hwaseung (畵僧: Buddhist monk painters),『Uigwe』(儀軌: The Royal Protocols of the Joseon Dynasty) was looked, in which the process and contents of the public Dancheong construction were recorded under the assumption that the same terminology was used by the same occupational groups at the same time. As for the number of individual cases, about 160 contents were searched, and 40 cases of Uigwe with accurate evidence of Hwawon and Hwaseung participation were confirmed to prove the relationship of exchange. In the process of proving this, it was confirmed that dancheong from the 17th to the middle of the 18th century was led by Hwaseung, and it was also confirmed that the contents of Uigwe appeared in the records of colloquial speech among workers. In addition, while checking the terminology of the part of the production process in which the Chobon (initial sketch) is used in the royal records, and at the same time, the term "the process of transferring the initial sketch to the base material" which is currently being used indiscriminately was presented as the term "Deungcho (謄草)."
A common characteristic of the royal court painters, Hwaseung, and folk painters, who led colored paintings in the Joseon Dynasty, was that painting was a means of livelihood, unlike those who painted literati paintings. In this way, the painters of the Joseon Dynasty were classified into full-time and non-professional painters, and the royal court painters and Hwaseung, who were representative professional painters, were briefly examined.
Although Buddhist painting was limited in the expression and composition of the same icon and repeating the same icon, only the mimicry characteristic was emphasized despite having creativity. In particular, it is true that it is difficult to break the existing ideological and stereotyped image from a religious point of view, which is stubborn and conservative. However, on an image where free expression is possible, there is room for producers to fully demonstrate their creative talents and expressive power. The part that best shows this is the existence of the origin and the origin of the origin. The part that best shows this is the sketch and the existence of Chulcho Hwaseung (出草畵僧: a monk who draws it).
In the royal records, the term 'Chobon' appears directly, but in Buddhist paintings, the existence of the 'Chobon' is presumed to be the existence of the 'Chulcho Hwaseung' (a Buddhist monk who draws initial sketch). Compared to the royal records in which the production process is detailed, there is no record of the production process in Buddhist paintings. However after the Buddhist painting is made, the list of the monks, Hwaseung, and patrons of the temple who participated in the production appears in the the Hwagi (record of painting process). Among the Hwagi of the Joseon Dynasty, as a result of analyzing 220 Hwagi featuring the Chulcho Hwaseung and 1,570 produced by Chulcho Hwaseung, a total of 61 people found the existence of Chulcho Hwaseung in the late Joseon Dynasty.
They led the Buddhist painting world in the late Joseon Dynasty by demonstrating "limited creativity" that partially overcame the repetition of Buddhist painting. The first appearance was in the mid-1700s, but it began to appear universally in the mid-1800s, and there were many Hwaseung who were active until modern and contemporary times.
In general, in the early Joseon Dynasty, the method of writing Hwagi was written in the order of experience or ability and the leader Hwaseung was classified into Yongmyeon(龍眠), Bisu(毘首), Pyeonsu(片手), Hwasa(畫師), etc. After the mid-Joseon Dynasty, Hwagi became simplified and the list of people who were involved in the making process was shorten- and the leader Hwaseung was written as Geumuh(金魚) and the following Hwaseung was written as Pyeonsu(片手). In addition, the emergence of Chulcho Hwaseung makes the order of Hwaseung in Hwagi very confusing. In many cases, Chulcho Hwaseung was not a leader Hwaseung, but sometimes it was listed higher than the leader Hwaseung, confirming the status of Chulcho Hwaseung in the process of making a Buddhist painting.
In previous studies, it is said that the Buddhist paintings of the main theme produced by the Chulcho Hwaseung were Buddhist Deities paintings, but when it was confirmed, the proportion was smaller than the paintings of Buddha and Bodhisattvas, and the proportion of Buddhist paintings in which various religions were comprehensively expressed was relatively high. If you look closely at the Buddhist paintings produced by Chulcho Hwasung, it is possible to distinguish between the iconography that should be expressed in a formal way and the icon that can be expressed in a pictorial way, which is overwhelmingly large, suggesting that Chulcho Hwasung had the ability to draw any subject.
The active period of 61 Chulco Hwaseung was an average of 25 years, and 18 of them entered the Buddhist tradition as Samiseung (before becoming a monk), and 16 of them rose to the status of Leader Hwaseung. In addition, since the time required to enter the Hwaseung group and participate in the production of various Buddhist paintings and then become a signatory was relatively short in the case of the Chulco Hwaseung, it is thought that the existence of the Chulco Hwaseung was a method of selecting talents for the Hwaseung in the late Joseon Dynasty.
The Chulcho Hwaseung can be divided into three generations. The first generation continues the tradition of the early Joseon Dynasty and shows small changes in the current situation of the times, while the second generation reorganizes the organization of the Hwaseung group and actively promotes the Western style of painting. In this period, it is shown that a different organizational system from the previous period, and many unconventional and experimental icons appear. In the third generation, much of the eccentricity of the previous period disappeared and returned to traditional Buddhist painting, and the repeated use of sketch rather than new iconography appeared. Considering that most of the present ones were produced during this period, it can be inferred that it is from this period that the initial sketches became a means of transmission of Buddhist painting
Most of the initial sketch of the existing Buddhist paintings were made in the 20th century, and this researcher classified them as "practices for sketching", "practices for manufacturing", and "practices for transmission" from the perspective of the producer.
The draft for the sketch is the one made at the beginning of the painting process and is again classified into a single image and a group image. Since the initial sketch of this classification are not in the form of an authentic version, there have been many areas excluded from studies in the past. However, from the point of view of the actual creator, it is meaningful because it is the beginning stage of figuring out the image. It is even more important because it is a part that reveals the way of origin, and can be made into a group by combining single images drawn alone.
The production sketch was classified into an actual production sketch and a transmission sketch. In the actual production sketch, there were cases where there were existing finished painting and there were cases where existing works did not exist. The sketches for transmission appear in the form of an authentic copy and a booklet. The booklet is characterized by being produced in a convenient state for reference because it is classified by subject, which collects facial expressions and images by subject. The distinction between the actual production sketch and the sketch for transmission is the completeness of the lines, and it is characterized by the fact that there are many instances of the original manuscript stamped with a seal.
Looking at the existing manuscript from the point of view of the actual creator, the first is the record of information on the work and the second is the role of the blueprint for the production of the work. The ink writing written on the sketch contains information about the place of enshrinement, date, and the originator in the vacant lot, so that it is possible to know the history of the originator’s production and use. Certain symbols and colors show the parts that need to be considered when making the work. In the record of work information, the specialty of the custom-made method was maintained along with the classification of the work, and it served as a blueprint to be referred to during the production process in order to prevent confusion among workers(painters) by indicating signs and guidelines.
The draft may change in the process of painting the piece, so the room for some change is needed. For this, the artists who make initial sketch choose a method called 'omitting'. The necessary parts were omitted from the parts that could be drawn on the fly or where the ink line was hindered in the process of completion to enhance the perfection of the work.
In this thesis, the history and characteristics of works were examined through the main producers of the painting in the late Joseon Dynasty, the Chulcho Hwaseung that appeared in Buddhist paintings in the 18th century, and the Hwagi of the Buddhist paintings they made, and the existing sketches were classified from the point of view of actual producer(painter). In addition, for practical work, we studied the selection and preparation process of the base material, and identified and studied the differences in how to draw and transferring the sketch according to the base material.
In order to transferring the sketch to the base material, the base material must be prepared, and natural fabrics should be used rather than synthetic fibers. Natural fabrics used in Buddhist painting are silk, cotton, and hemp fabrics, and there will be no problems until they are colored and finished only if the material and weaving process of the fabric are understood.
To make a base material for Buddhist painting, there are three steps to follow; refining, spread the mixed solution, and smoothing cloth by beating or adding pressure. Each process must be performed in order and there is a slight difference depending on the type of fabric. To this end, silk, cotton, and hemp fabrics were made to a certain standard, and the best results were derived according to the types of fabrics by checking the condition values for the best conditions as base materials.
It is only after the base material is made that ink can be used to transfer the sketch, and in order to find out the permeability of each fabric, the permeability was confirmed by experimenting on general illumination and lightbox, and ink lines were drawn to determine which state is most suitable for coloring. All of these experiments were to find out the conditions of various sketch methods conventionally performed as word of mouth in Buddhist painting, and through the experiments, it was confirmed that the method of transferring sketch was applied differently depending on the type and condition of the base material.
In Buddhist painting, there are a total of five ways to transfer the sketch, which is the process after the sketch was drawn and this was classified as a case where the original copy remains, the original copy does not remain, and the damaged original copy remains. If the original copy remains, there are mirroring and copying. When choosing this method, if the condition of the base material is see-through or coarse, use the 'transparent' method, and if the base material is silk or paper and there is no see-through, use the 'copy' method do. When using hemp fabrics, such as hemp or ramie, as the base material, this method is used, and the original remains intact. If there is no authentic copy left, there is a method of ‘laying it down’, which is a method of lining the authentic copy with the base material. This method is the best way to fix the original, although it does not remain because the original is plastered. Lastly, if damaged original remains, there are 'tapping' and 'pressing'. This method is mainly used when the base material is non-transparent. 'Tapping' requires a certain thickness of the base material, while 'tapping' requires a certain thickness of wood or plaster. Traces should be left when pressing with a sharp object. It can be used on all substrates if the conditions of thickness and softness are met. In particular, it has the advantage of being able to obtain a clean result without drawing a line with dyes or pigments.
This study is worthwhile just by suggesting the term Deungcho to the extent that the tradition of the term 'Deung-gi', which has been used until now, does not harm the tradition of the term Deungcho, which was used indiscriminately.
It is true that the transmission and succession of traditional intangible techniques was followed without knowing the causal relationship because they depended on apprenticeship-style education and traditional techniques were virtually cut off after the Japanese occupation. In addition, the traditional techniques were quite closed and secretive in the way of education, and Buddhist painting was a religious painting conceived according to the scriptures, and only imitation was highlighted and recognized, making it difficult to narrow the distance from general paintings. However, although imitation is a characteristic of traditional colored painting and is an ideological and formal Buddhist painting due to its religious nature, there is definitely an unrecognized creativity. And it was confirmed through this study that the Chulcho Hwaseung was at the center.
Although royal paintings began to be studied early because there were many production processes recorded in various Uigwes, including 『The Annals of the Joseon Dynasty』 and 『Seungjeongwon Ilgi』, it is clear that most of the records of Buddhist paintings had to rely on Hwagi listed only by their names— and it must have been the biggest stumbling block. Nevertheless, art history research has been solid and active for a long time, but research on the technical problems and production methods of Buddhist painting from the point of view of the actual creator has been difficult to find. In the 2000s, although scientific analysis and material research were actively carried out in the restoration of Buddhist paintings, it was also a study focused only on the finished product. It is true that this study is the first of its kind in terms of the production subject, the current initial sketch, from a practical point of view, so there are many unsatisfactory parts. However, when approaching and researching the same topic in a different way, the importance and necessity of the same issue are bound to change. In addition, it was not easy to analyze the production process of the results through excluded results for producers in the past, not the present, but it was a result to be able to confirm the justification of the actual producer for the questions.
A study that started with the thought that painting Buddhist paintings is not a habit of drawing or because of talent, but rather asking the question 'why? Although there are many areas that need to be corrected and more questions have been raised, it has become an opportunity to serve as a cornerstone for more basic research. Therefore, it can be said that it is meaningful just to be able to recognize that more in-depth research will be possible.

목차 (Table of Contents)

• I. 머리말 1
• 1. 연구목적 1
• 2. 연구범위 및 방법 6
• II. 초본(草本)의 개념과 제작 주체 9
• 1. 초본의 개념과 용어의 등장 9
• 1) 초본의 의미와 중요성 10
• 2) 초본의 제작배경 17
• 3) 초본에 사용되는 용어 21
• 2. 초본의 제작 주체 51
• 1) 전업 화가와 비전업 화가 51
• 2) 궁중 화원 60
• 3) 화승 62
• III. 불교회화의 출초화승 65
• 1. 출초화승의 지위와 작품성향 66
• 1) 출초화승의 지위 67
• 2) 출초화승의 작품 경향 76
• 2. 출초화승의 활동과 기간 82
• 1) 출초화승의 활동 연혁 84
• 2) 출초화승의 수화승까지 소요기간 90
• 3. 주요 출초화승 95
• 1) 제1세대 : 전통의 지속과 새로운 모색 97
• 2) 제2세대: 조직체계의 정비와 새로운 기법의 수용 113
• 3) 제3세대 : 전통으로의 회귀와 답습 141
• IV. 불화 초본의 종류와 내용 143
• 1. 불화 초본의 종류 143
• 1) 밑그림용 초본 147
• 2) 제작용 초본 162
• 2. 초본의 내용과 표현방식 175
• 1) 초본의 내용 175
• 2) 초본의 표현방식 및 특징 186
• V. 불화 초본의 등초 방법 194
• 1. 등초를 위한 바탕재 준비 194
• 1) 바탕재의 선택 194
• 2) 등초를 위한 바탕재 준비작업 199
• 3) 바탕재의 적합성 233
• 2. 등초의 종류와 방법 250
• 1) 출초 - 초내기 251
• 2) 등초(謄草)하기-초내리기 253
• VI. 맺음말 268
• <참고문헌> 277
• <표 목 록> 295
• <도판목록> 298
• <별 첨> 307
• ABSTRACT 345

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45. 조선후기 사원의 불사와 사찰계, 한상길, 한국선학제28호, 한국 선학회, , 2011

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48. 우리가 정말 알아야 할 천연염색, 이종남, 현암사, , 2009

49. 조선 후반기 어진의 제작과 봉안, 조인수, 다시보는 우리 초상의 세계-조선시대 초상화 학술논문집, 국립문화재연구소, , 2007

50. 조선전기 新圖像선묘관음보살도, 정우택, 동악미술사학제18호, 동악미술사학회, , 2015

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52. 17세기 佛畵製作後援에 관한 考察, 이승희, 불교사학제2집, 불교 미술사학회, , 2004

53. 恭齋尹斗緖의 중국출판물의 수용, 차미애, 미술사학연구 제264호, 한국미술사학회, , 2009

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55. 朝鮮前期金線描阿彌陀三尊圖一例, 정우택, 미술사연구제22호, 미술사연구회, , 2008

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57. 화계사 불교미술의 성격과 시주자, 유근자, 한국불교사연구제4 권, 한국불교사학회, , 2014

58. 京山畵脈系譜와 萬奉佛畵圖像硏究, 유경자, 위덕대학교 대학원 박 사학위논문, , 2020

59. 「『顧氏畵譜』와 조선후기 회화」, 송혜경, 미술사연구제19호, 미술 사연구회, , 2005

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64. 朝鮮後期三藏菩薩道와 水陸齋儀式集, 이용윤, 미술자료제72권, 국립중앙박물관, , 2005

65. 朝鮮末期王室發願佛事와 守國寺佛畵, 김정희, 강좌미술사제 30호, 한국불교미술사학회, , 2008

66. 近代畵僧寶鏡堂普現의 出草佛畵硏究, 윤선우, 한국사학연구 제289호, 동한국미술사학회, , 2016

67. 고대 동아시아 불교조각과 화본(畵本), 소현숙, 불교미술사학제 23권, , 2017

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70. 「儀軌를 통해서 본 朝鮮時代의 畵員」, 박정혜, 미술사연구제9권, 미술사연구회, , 1995

71. 17〜18세기 불화의 畵記분석과 용어 考察, 이종수, 허상호, 불 교미술제21호, 동국대학교 박물관, , 2010

72. 篆刻의 시대적 변천에 따른 예술성 연구, 이승연, 서예학연구제 17권, 한국서예학회, , 2010

73. 왜란과 호란 이후 불교계의 변동과 추이, 이종수, 한국불교사연 구제8권, 한국불교사연구소, , 2015

74. 조선후기 산신도와 불교 습합(習合)신앙, 윤열수, 불교문화연구 제5집, 한국불교문화학회, , 2005

75. 조선후기 벽암문도의 사상과 신중도 제작, 김현중, 동악미술사 학제19호, 동악미술사학회, , 2016

76. 채용신의 생애와 예술-초상화를 중심으로, 조선미, 삶과 꿈, , 2001

77. 18세기 朝鮮文人들의 繪畵蒐集活動과 畵壇, 박효은, 미술사학연 구제233,244호, 한국미술사학회, , 2002

78. 朝鮮後期佛敎界의 正體性確立과 禪敎兼修, 오경후, 지방사와 지 방문화제21호, 역사문화학회, , 2018

79. 朝鮮後期職業畵家의 活動과 注文製作繪畵, 이연주, 충북대학교 대 학원 박사학위논문, , 2021

80. 임진왜란 의승군 활동과 그 불교사적 의미, 김용태, 보조사상제 37권, 보조사상연구원, , 2012

81. 조선시대 도화서제도의 (圖畵署制度) 성립, 윤범모, 동국사학제 17권, 동국대학교 동국역사문화연구소, , 1982

82. <태평성시도>와 조선 후기 상업공간의 묘사, 이수미, 미술사와 시 각문화제3권, 미술사와 시각문화학회, , 2004

83. 明代顧氏畵譜(1603)의 간행과 회화사적 의의, 고바야시, 히로미쓰(小林宏光), 조인수, , 2014

84. 韓國近代專門書畵敎育의 先導, 書畵美術會, 김소연, 미술사논 단제36호, 한국미술연구소, , 2013

85. 국립고궁박물관 소장 세조어진초본의 고찰, 신재근, 고궁문화제 10호, 국립고궁박물관, , 2017

86. 한국 근대기 불화와 화승 금용 일섭의 불화, 최엽, 동악미술사 학 제24호, 동악미술사학회, , 2018

87. 20세기 초 단군영정의 보급과 화본(畫本) 검토, 김성환, 동북아역사 논총제65권, 동북아역사재단, , 2019

88. 「개항기 ‘김홍도 풍속화’의 모방과 확산」, 신선영, 미술사학연구제 283 284권, , 2014

89. 무형문화재 전수교육학교 교재, 한산모시짜기, 박기찬, 금다운, 심연옥, 한국전통문화대학교, , 2020

90. 조선후기 불교장엄과 의례의 수용된 정토사상, 송법엽, 정토학연 구제27호, 한국정토학회, , 2017

91. 전통과 권위의 표상-고종대의 태조어진과 진전, 조인수, 미술사연구 제20호, 미술사연구회, , 2006

92. 조선 후기 남종화풍 문인산수화의 모방과 창작, 오혜진, 미술사논 단제42호, 한국미술사연구소, , 2016

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94. 朝鮮後期의 佛畵- 特徵과 樣式, 그리고 硏究課題, 김정희, 불교미 술사학제5집, 불교미술사학회, , 2007

95. 조선전기 線描佛畫= 純金畫, 미술사학연구제206호, 박은경, 한 국미술사학회, , 1995

96. 현대미술에서 드로잉의 가치와 미학적 평가 기준, 김승호, 예술과 미디어 제31권, 예술과 미디어학회, , 2016

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98. 동양회화에 있어서 선과 시간의 관계에 대한 고찰, 김백균, 현대미 술학 논문집제7권, 현대미술학회, , 2003

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100. 「《石農畵苑》과 17～18세기 한국화단의 後援문제」, 박효은, 숭실사학 제34집, 숭실사학회, , 2015

101. 조선후기 불화승의 계보와 의겸비구에 관한 연구(하), 안귀숙, 미술 사연구제9호, 미술사연구회, , 1995

102. 명말청초(明末淸初)의 산수화보(山水畵譜) 연구(硏究), 유순영, 온 지논총제14호, 온지학회, , 2006

103. 延曆寺소장 조선전기 金線描阿彌陀八大菩薩圖의 고찰, 정우택, 동악미술사학제16호, 동막미술사학회, , 2014

104. 문헌기록을 통해 본 조선시대 직업화가의 성격과 평가, 이현주, 민 족문화제249호, 한국고전번역원, , 2017

105. 조선 후반기 제1기 불화의 화기를 통한 조성 배경 연구, 김현정, 강좌미술사제38호, 한국불교미술사학회, , 2012

106. 조선후기 불화승의 계보와 의겸비구에 관한 연구(상하), 안귀숙, 미 술사연구제8호, 미술사연구회, , 1994

107. 조선 중후기 왕실 도화서 화원들의 불화 제작과 그 영향, 최엽, 온 지논총 제68권, 온지학회, , 2021

108. 진영(眞影)특집 : 조선후기 화승(畵僧)의 진영상(眞影像), 김정희, 강 좌미술사제35권, , 2010

109. 감로도 도상의 기원과 전개-연구현황과 쟁점을 중심으로-, 김정희, 강좌미술사, 제47권, 한국불교미술사학회, , 2016

110. 근대 수도권 불화의 傳統性과 新傾向, 東岳美術史學4, 장희정, 東岳 美術史學會, , 2003

111. 중국(中國) 고대(古代) 목간(木簡)의 서명(署名) 방식 연구, 박준호, 고문서연구제41권, 한국고문서학회, , 2012

112. 傳統佛畫再現을 통해 본 조선후기 불화의 材料와 技法연구, 이수예, 동국대학교 대학원 박사학위논문, , 2017

113. 겸재 진경산수화에 나타난 남 북종 화법융합의 독창성 연구, 김진경, 양명학제34호, 한국양명학회, , 2013

114. 朝鮮後期佛敎政策과 性格硏究- 宣祖의 佛敎政策을 中心으 로, 오경후, 한국사상과 문화제48권, 한국사상문화학회, , 2011

115. 의궤(儀軌)를 통해 본 조선후기 도감(都監)의 구조와 그 특 성, 나영훈, 역사와 현실 제93권, 한국역사연구회, , 2014

116. 직지성보박물관 소장 <阿彌陀說法圖>의 畵僧과 線描佛畵畵 風, 김형곤, 불교미술사학제29권, 불교미술사학회, , 2020

117. 고려 관음보살래영도(觀音菩薩來迎圖)의 새로운 출현과 그 의 의, 문명대, 강좌미술사제48권, 한국불교미술사학회, , 2017

118. 조선전기 민간발원 불화의 일례 : 일본 曹源寺소장 <釋迦說法 圖>, 신광희, 불교미술사학제13권, 불교미술사학회, , 2012

119. 금호당 약효(若效)와 남방화소 계룡산파 –조선후기 화승연구 (Ⅲ), 김정희, 강좌미술사제26권, 한국불교미술사학회, , 2006

120. 서울 창신동 <安養庵磨崖觀音菩薩座像> 硏究, 佛敎美術, 제 20권, 최엽, 동국대학교박물관, , 2009

121. 조선후기 佛畵草本의 종류와 의미에 관한 연구, 미술문화 연구제9호, 권지은, 동서미술문화학회, , 2016

122. 『Performing the Visual : The Practice of Buddhist Wall Painting in China and Central Asia, Sarah E. .Fraser, , 2004

123. 조선후기 불교와 민간신앙의 공존 양상－산신･칠성 신앙의 불 교화, 김용태, 불교학연구, 제61권, 불교학연구회, , 2019

124. 조선후기 서화시장을 통해 본 명작(名作)의 탄생과 위작(僞作) 의 유통, 서윤정, 대동문화연구제109권, 성균관대학교 대동문화연 구원, , 2020

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