양양 낙산사 동종 보살상에 대한 회화사적 고찰

Abstract

This paper studies the artistic style of the Bodhisattva image on the Naksansa Temple Bell from the early Joseon Dynasty. The Naksansa Temple Bell was cast in 1469 under the royal patronage, and the Bodhisattva image, cast in relief on the side of the bronze bell, was designed by Kim Jung-gyeong and Yi Jang-son, who were court painters serving in Dohwaseo, the Painting Academy. The participation of court painters in the production of Buddhist Bell led to a highly refined and sophisticated artistic expression, demonstrating excellence in both form and composition. The Bodhisattva image on the Naksansa Temple Bell exhibits a slender and well- proportioned figure with a square shaped face and clear-cut features. The figure stands on a lotus pedestal with hands clasped in prayer. The Bodhisattva wears a lavish crown adorned with Cinta-mani and beads, along with a gracefully draped robe over broad shoulders, featuring intricate ornamentation. The flowing drapery imparts a sense of movement. By comparing the stylistic features of the Bodhisattva on the Naksansa Temple Bell with those depicted in Buddhist paintings, it can be confirmed that it inherits the tradition of the Buddhist paintings from Goryeo Dynasty and shares common characteristics with those from the early Joseon dynasty. The Bodhisattva image on the Naksansa Temple Bell, along with that on other contemporary royal court-sponsored temple bells such as the Heungcheonsa Temple Bell and the Bongseonsa Temple Bell, showcases a high level of figurative artistry executed by the court painters. However, the differences in the individual artistic styles of the painters involved in their creation also offer intriguing insights for art historical analysis. In particular, the Bodhisattva image on the Naksansa Temple Bell stands out as an exceptional work with its idealized and stable form, as well as its refreshing and powerful line work. It is considered one of the most outstanding pieces of its kind. The leading painter in this project is believed to have been Yi Jang-son, who demonstrated a deep understanding of the production process and the nature of the bronze casting, creating an appropriate and exceptional style of expression.