금곡당 영환 작 천보산 불암사 괘불도 연구 = A Study on Geumgokdang Yeonghwan`s Buddhist Banner Painting at the Bulam.sa Temple in Mt. Cheonbo

다국어 초록 (Multilingual Abstract)

This study examined the Buddhist banner painting at the Bulam.sa Temple in Namyangju created by Geumgokdang Yeonghwan in 1895. The name of Yeonghwan began to appear first on the Buddhist banner painting at the Heungguk.sa Temple in Namyangju created in 1858, and until the creation of Buddhist banner painting at the Bulam.sa Temple in 1895, he acted as a monk painter representing the Gyeonggi area in the 19th century along with Changyeop, Eungseok, Chukyeon, Chehoon, Dooheum, Sanggyu, Cheongi, and Geungbeop. Besides Buddhist banner paintings, Yeonghwan participated in the creation of Buddhist paintings of various themes including Sakyamuni and Amitabha Buddha paintings, Big Dipper paintings, Ksitigarbha paintings, Buddhist deity paintings, and Arahat paintings, and exhibited outstanding skills in stable screen composition, the form of sacred images such as Buddhas and Bodhisattvas, stylistic expressions of color and pattern, etc. Particularly involved as the master monk painter in the creation of the four Buddhist banner paintings, respectively, at the Baekryon.sa(1868)·Gyeongguk.sa(1878)·Bongguk.sa(1892)· Bulam.sa(1895) Temple, and as an assistant monk painter along with Eungseok under master monk painter Yeonghee in the creation of the Buddhist banner painting at the Heungguk.sa Temple (1858), Yeonghwan’s activities were concentrated on the creation of Buddhist banner paintings. Among the five Buddhist banner paintings in the creation of which Yeonghwan participated as the master monk painter or an assistant monk painter, the painting at the Bulam.sa Temple, which is believed to have been created in his later years, show new characteristics distinctive from the other four works in icon, screen composition, color, and robe pattern. Thus, through examining and comparing these features, this study identified the formative and stylistic characteristics of the Buddhist banner painting at the Bulam.sa Temple, and read the development of his Buddhist paintings. Particularly as this painting was created under the sponsorship of the royal family, the painting records on the work, and the written prayer on creation newly found in the body of a Buddha statue allowed comparative analysis for clear understanding of the background of creation. For this study, historical background was reviewed through Bongseonbonmalsaji, Mt. Cheonbo Bulam.sa Temple Monument, and the record on the restoration of the Bulam.sa Temple in Mt. Cheonbo, and Yeonghwan’s activities for creating Buddhist banner paintings were explored. Then, the iconological characteristics of the Buddhist banner painting at the Bulam.sa Temple were studied, the contents of the written prayer were analyzed comparatively, and stylistic characteristics such as screen composition, the form of sacred images, color and pattern were examined in detail. Through these works, differences from the other Buddhist banner paintings were identified. According to the results of this study, the Buddhist banner painting at the Bulam.sa Temple, which is the latest work with his name, used stable composition, conspicuous and harmonious coloring mainly with primary colors and bright tones, and various patterns, showing the painter’s fully developed artistic world in his later years. As this painting shows new screen composition and original stylistic characteristics while following the style trend in his days, it is considered to have a significant meaning in the history of Buddhist paintings. With regard to the form and style of Yeonghwan’s school, what is more, screen composition or the expressions of color and pattern suggest relationships among the members. Similarities are observed in the use of lotus patterns, lotus and arabesque patterns, and peony and arabesque patterns in decorating the assembly robe, upper garment, skirt, and shirt. In addition, cloud and dragon patterns were usually used in royal house.sponsored Buddhist paintings, and this suggests that the form of pattern was varied according to sponsors. As presented above, the form and style of Yeonghwan’s Triad Buddhist banner painting at the Bulam.sa Temple created in 1895 exerted an enormous influence on the formation of Buddhist painting circle in the Gyeonggi area during the 1900s and afterwards. Further surveys of Buddhist banner paintings in the Gyeonggi area are expected to find additional Buddhist banner paintings created by Yeonghwan and illuminate his activities more clearly.