17세기, 인 ․ 숙종기의 괘불화 연구

Abstract

present study purposed to examine the characteristics of the form and style of Buddhist banner paintings during this period, dividing it into the period of King Injo and Hyojong (1623‐1659) and the period of King Hyeongjong and Sukjong (1660‐ 1720), and to analyze trends in the two periods and the influential relation between the two periods. Buddhist banner paintings during the period of King Injo and Sukjong including Baner painting of Shakyamun Buddha(世尊掛佛圖), at the Jukrim‐sa Temple in Naju, the earliest Banner paining in the Chosun Dynasty, show diversity in theme such asYeongsanhoedo related to Yeongsanje Ritual(靈山齋), Maitreya(彌勒佛)), Buddha of Trikaya and Three acons(三身三世佛), Trikaya(三身佛), Rocana(盧舍那), and Buddha of Three acons(三世佛), and in form such as Single‐image(獨尊), Multipleimage(多尊) and Group‐image forms(群圖 形式). In detailed style as well, the composition develops from simply styles such as ‘⊥’ and ‘Ⅰ’ and shows various styles from dressing with the nuded right shoulder to the right hand with the slightly open little finger, double skin light, halos in the forms of Two‐stage‐one‐leaf(2段1葉) or Two‐stage‐two‐leaf(2段2葉) winnow, human, pearl, and sailing boat, and patterns like round pattern, cow‐nose chain pattern, six‐leaf/five‐leaf flower pattern, sixapricot‐flower point, circular pattern, oval pattern, saw‐tooth pattern, chrysanthemum pattern, arabesque scroll pattern, and Brahmi alphabet pattern. Color is also various from red and green, the main tones, to apricot, milk white, pale yellow, light pink, light sky blue, blue, pink, light green, yellow, and yellowish green, exposing strong brightness, gorgeousness, and decorativeness. During the reign of King Injo and Hyojong, the first half of the period from King Injo to Sukjong, most of the Banner paintings are Yeongsanhoedo based on the Saddharma-pundarika thought, the trend of historical thought in those days, characterized by styles such as colors of soft feeling by employing the traditional Light color technique(淡彩技法) in figures with an amicable oval face. On the contrary, Banner paintings during the reign of King Hyeonjong and Sukjong, the second half of the period, are influenced by those during the reign of King Injo and Hyojong but employ various themes, more complicated composition, colors such as blue, light blue and pink, and various flower patterns, making the styles more diverse and gorgeous. As presented above, Buddhist banner paintings during the period from King Injo to Sukjong, which led Buddhist paintings since the 17th century in the Chosun Dynasty, are meaningful in the history of Buddhist paintings in that they diversified themes and forms, and settled styles, and as a consequence, laid the base of the form and style of Buddhist banner paintings and Buddhist paintings during the reign of King Yeongjo and Jeongjo.