조선 후기 龍珠寺 水陸齋와 불화 -1790년작 삼장보살도와 감로도를 중심으로-

Abstract

In the late Joseon Dynasty, unlike the early Joseon Dynasty, when National Ritual for the Beings of Water and Land(國行水陸齋) were popular mainly in the royal family, individual-centered Water and Land Rituals(水陸齋) were actively practiced mainly in temples. The record that men and women in the capital gathered and filled the road in front of Gyeongbokgung Palace during the Water and Land Rituals held in 1606 (the 39th year of King Seonjo’s reign) after repairing roads in Sahyeon(沙峴) shows how they tried to solve this problem through Buddhist rituals such as Water and Land Rituals centered on the private sector during the war, frequent natural disasters, and infectious diseases in the late Joseon Dynasty. The prosperity of Water and Land Rituals in the late Joseon Dynasty can be confirmed through the compilation of ritual collections that were actively published at the time. Although the Water and Land Rituals collection was imported from China at the end of the 11th century, it was systematized as a ritual collection equipped with so(疏) and bang(榜) according to the situation of Korea after 1464 (Sejong 10), and was intensively published in the 16th and 18th centuries. Among the collection of Water and Land Rituals, the widely used are the Suryuk-mucha–yeongdeung jaeeui-chualyo(『水陸無遮平等齋儀撮要』), heonji-myeongyang-suryukjaeeui chanyo(『天地冥陽水陸齋儀纂要』) and Cheonji- myeongyang-suryukjaeeui-beomeum-sanbojib(『天地冥陽水陸齋儀梵音刪補集』). In particular, Suryuk-mucha-pyeongdeung-jaeeui-chualyo is a reference for grasping the image of Yongjusa Nectar Ritual Painting. In Yongjusa(龍珠寺) Temple, on September 30, 1790, the day "Golden Buddha(金佛)" was completed, the mucha-daehoe(無遮大會) was held. At that time, the composition of the Yongjusa mucha-daehoe is unknown, but if you estimate the appearance of the Yongjusa mucha-daehoe through Jingwansa Temple’s Water and Land Ritual, which was held 400 years before the Yongjusa Temple’s mucha-daehoe, it is estimated that there was a space dedicated to the Water and Land Ritual or the three ritual altars(三壇) during the Water and Land Ritual like Jingwansa Temple. If the altar was set up and the Buddhist painting was enshrined during the 1790, the ceremony was held with the rear Buddha wall in the Daeungbojeon Hall as the upper-altar(上壇), the painting of the Samjang Bodhisattva(三藏菩薩圖) at the middle-altar(中壇), and the painting of the Nectar Ritual(甘露圖) at the lower-altar(下壇), or the ceremony was held with the painting of the Samjang Bodhisattva and the painting of the Nectar Ritual hanging outside the Daeungbojeon Hall and left and right outside the main gate, the painting of the four underground messengers(四直使者圖) and the painting of the five emperors of the five cardinal directions(五方五帝位圖), outside the main gate, the painting of the Five Buddhas(五如來圖) and the painting of the Four Bodhisattvas(四菩薩圖)and the painting of the Eight Guardians(八金剛圖). If the Water and Land Ritual was done outdoors, it is possible that the structure of the Yongjusa Temple, where Daeungbojeon, Cheonboru(天保樓), and Oesammun(外三門), was connected in a straight line, placed at the upper-altar on Daewoongbojeon Hall, the middle-altar on Cheonboru, and the lower-altar on Oesammun. However, as the Yongjusa Temple is enshrined with the painting of Samjang Bodhisattva and the painting of Nectar Ritual on the middle-altar and lower-altar of the Daeungbojeon Hall, the rear Buddha wall of the Daeungbojeon Hall is at the upper-altar, the right side wall of the north wall on which the Samjang Bodhisattva painting is hanging is at the middle-altar, and the east wall on which the Nectar Ritual painting is hanging is at the lower-altar. In other words, instead of building a three-altar space for rituals, Yongjusa Temple was equipped to perform rituals inside the Daeungbojeon Hall. As a result, it is estimated that the Yongjusa Temple’s Water and Land Ritual was also enshrined in the middle and the painting of the Nectar Ritual at the lower-altar. Currently, there are the painting of the Nectar Ritual painting and the painting of the Samjang Bodhisattva created during the Water and Land Ritual in 1790, and the painting of the Samjang Bodhisattva is made for the middle-altar and the painting of the Nectar Ritual painting is made for the the lower-altar of the Water and Land Ritual. So, it can be confirmed that the painting of the Samjang Bodhisattva painting and the painting of the Nectar Ritual painting of Yongjusa Temple were Buddhist paintings made for the Water and Land Ritual in 1790, which faithfully illustrated the contents of the Water and Land Ritual’s collection.