純ㆍ高宗期(純祖~純宗 : 1801~1910년) 佛敎版畵의 특징과 양식

Abstract

SuenㆍGojong(純ㆍ高宗) period[from Suenjo to Suenjong(純祖~純宗) ; 1800~1910] was decline season of printing activities of Buddhism. That was mainly based on the oppression policy for Buddhism, suppression Buddhism brought distress of temple economy so it was hard to make publication work. Moreover, there were many other Buddhist scriptures and sutras which already published previously so the demand of new scriptures and sutras was decreased. And published Buddhist books were mostly about ritual formality so the complicate designed printing skills were no more needed. Except those cases, there are many Amitabha sutra conjunction with the idea of extinction of life to the Buddhist Elysium with popularity of invocation society. When the scriptures and sutras were printed, newly made first prints were observed rather than reprinting editions. Especially, engraving paintings of strategic point of Amitabha sutra by the Buddha sermon, the sutra of eternal life Buddha, Vimalakīrti sutra and sutra of the past vows of earth store bodhisattva are worthy of note. Those prints's draft were sketched by famous monk artist Heaho(慧皓) and Eungsuk(應釋) who had reputation at that time. In that paintings new influences of designs and patterns from Ching dynasty(淸朝) prints of the complete collection of Buddhist sutras. A characteristic of standard engraving at that time was that there was no specific certain engraver's cutting style on the print. For this reason, in the case of the first edition detail designs were same between drift of the print and engraved print. It is kind of natural tendency. There were any sharp-edged or intentional distortion engraved line, most of the lines were slackened. Consequently the face of the Buddha and Bodhisattva was described small and delicate, and the figure was expressed without divinity and godhood. Those were main characteristics of the time engraving paintings. The other side, these special features were brought by decreasing of the engraving monk, ordinary engravers charged sutra making so it was hard to discriminate between Buddhist prints and usual common prints. In addition, there were some influences from Ching dynasty's illustrated print books.