조선 후반기 제1기(光海君-景宗代) 불화의 도상해석학적 연구

Abstract

Though the power of Buddhism largely shrank since the foundation of Chosun, the mood of prosperity comes into buds as the royal family and the nobility had faith for Buddhism in tandem with Buddhists’ sacrifice for national salvation, exchanges with Silhak scholars,construction of intramural temples and royal shrineswithin the palace, publication of Buddhist bibles, abortion of Sangsageumbeop, and Bulsa Seolhaeng, Chuboksuryukjae Seolhaeng. Furthermore, as a new strand of Buddhism rose by the late Chosun Dynasty,which integrated creeds and invocative faiths with Jogyejong(Zen Buddhism), numerous Buddhist projects including remodeling and reconstruction of many temples were carried out and hence the quantitative expansion of Buddhist art was also brought about. Especially, the first part of the late Chosun Dynasty, the period of Kings from Gwanghae-gun to Gyeong-jong(1609~1724), a period playing the role of bridge connecting the Buddhist drawings in the days of Kings Yeong-jo and Jeong-jo(1725~1800) with those in the first half of the Chosun Dynasty(1392~1608), had extremely great importance in the Buddhist paintingin the second half of the Chosun Dynasty. 47 Buddhist drawing pieces in total, including 33 banner paintings and 14 rear paintings,in the first part of the late Chosun Dynasty have been handed down. As a result of the study with the banner paintings and rear paintings divided into those in the period of Kings from Gwanghae-gun to Hyo-jong and those in the period of Kings from Hyeon-jong to Gyeong-jong, first, Yeongsahoedo paintings were overwhelmingly created on the side of theme in both of the two parts of the period. And the paintings in the first part are stable on the side of composition while use of more dynamic method of composition has been founded from the drawings in the second part. Second, as for the forms of Buddha’s face and head(Yukgye), body appearances and hand morphologies, and the forms of the halo, we have found some changes by times in that the drawings from the first part are specifically soft and smooth, while those from the second show a bit of rigidity. Third, as for the use of colors, patterns, and drawing lines, the paintings from the first part are natural and elaborated, and give transparent and bright feelings as they adopt clear and bright colors and simple patterns and freely use delicate drawing lines mainly including fine lines, whereas the drawings from the second part adopt stronger and more diverse colors and complicated patterns and freely use thick sold lines, which strike us as rigid but having a tendency toward splendor. This study has some significance in that it has generally found out that the rear paintings,having firstly occurred toward the second part, the period of Kings from Hyeon-jong to Gyeong-jong, have been much influenced by those from the first part with their concentration on Yeongsanhoedo and on the side of their detailed mode.