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Abstract

In the late 18th century, there had been an increase in creation of Buddhist Paintings with purpose of internal display, typically behind the statues or on the walls inside of a temple. Unlike their predecessors, these close-to-500 paintings exhibit a diverse range of development and modalities. The elevated status of the Buddhism in the late 18th century, combined with the overall societal prosperity, produced an increase in number of temples around the country which correlated to higher number of Buddhist Paintings created during this time. This trend tended to be more noticeable around larger temples of YoungNam and JeonRaNamDo regions. In KyungKi region, although the number of temples actually decreased during this period, due to their unique affiliation with the royal palace, the temples in this region were able to produce mostly Buddhist paintings for memorial service. The popularity of various Buddhist Societies, based on Sukhavati belief (Pure land belief), of late ChoSun Dynasty stimulated creation of Amitabha Paintings. Furthermore, the Paintings of Amithaba’s Sermon from this period were largely influenced by the Paintings of Sykamuni Sermon, displaying nearly same appearance around the characters. Also, influenced by the Zen Buddhism, many activities around the elder monks’ portraits depict emphasis on the sectional legitimacy . This should be considered as an individually worship of the elder monks, rather than a worship. The monks who led wars to a victory were highlighted through legends and myths, especially around YoungNam region which suffered the most war damage. ChilSeongDo and SanSinDo had special meanings that combined traditional belief with modernization of Buddhism, and the movement of the SeongSoo belief toward the belief of Stars, can also be noticed through the ChilSeongDo. The scholastic characteristics displayed a divided approach and modality by each sections of large painting schools which served as a key topic for many research studies. The paintings from the second phase of late ChoSun Dynasty, often dubbed as the ChoSun’s “Renaissance”, provided abundant data that allowed fluent interpretation of Buddhist Art of that time, and it represented a period of the standardization around Buddhist Painting that took place from 19th century through out the modern era.