조선 仁祖-肅宗代 불화의 도상 특징 연구

Abstract

With the recovery of the influence of Buddhism, which had been greatly shrunk since the foundation of the Joseon Dynasty, many images including the paintings of Maitreya(彌勒佛), Trikaya(三身佛, Nimanakaya, Sambhogakaya, Dharmakaya) and Five Buddhas(五佛, Vairocana, Rocana, Sakyamuni, Bhaisajyaguru and Amitabha) were created during the age of King Injo and Sukjong (1623‐1720), and some 10 pieces from the period of King Injo and Hyojong and 37 from the period of King Hyeonjong and Sukjong, so a total of 47 works including banner paintings and platform paintings have been handed down from the age. This study compared the characteristics of painting iconography such as composition and form, color, pattern and drawing line between the two periods, and found differences as follows. As only a few materials created before the Japanese invasion in 1592 have survived, Buddhist paintings during the period of King Injo and Sukjong are used as the base of research on Buddhist paintings from the mid 18th century to King Yeongjo and Jeongjo, and play the crucial role of a bridge. In addition, along with many images in the form of assembly painting, the images of Shakyamuni and Amitabha began to appear and became the models of platform paintings that were created a lot since King Yeongjo and Jeongjo (1725‐1800). In particular, the banner painting in the Jukrim‐sa Temple (Figure 1, 1622), the oldest among banner paintings known today, is meaningful, though small in size, in that it was the beginning of banner paintings in the Joseon Dynasty and the model of the seated image of Shakyamuni. That is, the banner painting in the Jukrim‐sa Temple set the standards of the detailed shapes of the body and the robe for banner paintings with Shakyamuni as the main figure or platform paintings of Shakyamuni. The banner painting in the Muryang‐sa Temple (Figure 2, 1627) is also the first image of Maitreya holding a lotus branch. Although its nature is different, the painting is valued as the model for the image of Bodhisattva with a hand holding a lotus that appeared steadily since the 19th century. In addition, the banner painting in the Chiljang‐sa Temple (Figure 9, 1628) displays the influence of images originating from the image of Five Buddhas, which was created before the Japanese invasion in 1592 and is kept in the Jyurinji Temple in Japan, and became the model for the paintings of Trikaya and Buddhas of the Three Worlds. Along with it, the banner paintings of Bodhisattva with a preaching hand in the Sinwon‐sa Temple and the Sudeok‐sa Temple, which are the models of Rocana Buddha, the banner paintings of Bodhisattva with a hand holding a lotus and Buddha in the form of a single figure, the paintings of Buddha holding a lotus flower in the right hand, the banner paintings of five, seven and nine Buddhas, etc. are all forms settled during the period of King Injo and Sukjong and had significant effects on the form of Buddhist paintings afterwards. As to color, paintings in the period of King Injo and Hyojong used mainly red and green, which are soft moderate tone colors in the traditional light‐coloring technique, and those in the period of King Hyeonjong and Sukjong used red and green as in the previous period as well as skyblue, light‐blue and pink, showing the trend of getting colorful. In platform paintings as well, the images of Shakyamuni and Amitabha in the form of assembly painting, which are of typical fan shape or pillar shape, emerged and became the models of platform paintings created a lot since the period of King Yeongjo and Jeongjo. In conclusion, the present study is considered meaningful in that it found that Buddhist paintings in the period of King Injo and Sukjong inherited those in the period of King Yeongjo and Jeongjo not only in form but also in style including the shape of figure, the expression of body, composition, color, pattern and drawing line.