19~20세기 전반 용주사 불화로 본 왕실 후원

Abstract

Research on Yongjusa Temple(龍珠寺), located in Hwaseong, has largely focused on the founding period of the temple, which was established by King Jeongjo(正祖) as a royal temple. After the king's death in 1800, royal patronage for Yongjusa decreased, and the temple no longer enjoyed the same status as during Jeongjo's reign. However, the temple continued to function as a royal temple, as evidenced by the enshrinement and rituals for the spirit tablets of Crown Prince Jangheon(莊獻世子). In the 19th century, various outdoor rituals, including the Suryukjae (a water and land ritual, 水陸齋), were held at Yongjusa, with continued royal support. This paper examines the royal patronage and the outdoor rituals associated with the Buddhist paintings created at Yongjusa during the late 19th to early 20th centuries, particularly those used in outdoor ceremonies. The Five Buddhas Painting (Oyeoraedo, 五如來圖), Four Bodhisattvas Painting (Sabosaldo, 四菩薩圖), and Eight Vajra Painting(Palgeumgangdo, 八金剛圖), created in 1882, were used as ceremonial banners at the water-land ritual(Suryukjae, 水陸齋) at Yongjusa. These paintings depict the five Buddhas who save souls, the four Bodhisattvas who assist sentient beings, and the eight Vajras who protect the ritual grounds. These artworks functioned as ceremonial adornments during outdoor rituals such as the water-land ritual, particularly after the 18th century. The iconography of these paintings features Buddhas and Bodhisattvas riding on sacred animals, whose unique and auspicious appearance closely resembles the creatures found in the Hundred Animals Painting(Baeksudo, 百獸圖), a royal painting manual of the period. Additionally, the material used for the paintings’ canvases, which appears to be imported cotton, marks a distinct departure from traditional painting materials. These unique characteristics suggest that the continued royal patronage after King Jeongjo’s reign played a significant role in their creation. The banner Painting of Yongjusa(Gwaebul, 龍珠寺 掛佛圖)produced in 1933, sheds light on how the temple continued to host outdoor rituals under Japanese colonial rule. Recorded as being funded by numerous court ladies, the painting was used to honor both past and present royal family members, offering prayers for their peace and well-being. The court ladies, who also contributed to the funding of the Buddhist Flags(Bulbeon, 佛幡) used in 20th-century outdoor ceremonies, were key supporters of Yongjusa's religious activities. Through these Buddhist paintings used in outdoor rituals, it is evident that the royal patronage of Yongjusa continued well beyond the death of King Jeongjo, illustrating the temple’s unique connection to the royal family that set it apart from other temples during the late 19th and early 20th centuries.