진영 화장사(華藏寺) 소장 고산당 축연(竺演) 작 <지장시왕지옥변상도(地藏十王地獄變相圖)> 연구

Abstract

<Ksitigarbha Ten Kings Hell Sutra Tableau painting>, which is one of six Buddhist paintings created all at once by Chuk‐yeon in 1928, following the screen composition and content of Jasugungjeongsa <Dichngpusabenyuanjing‐Lunguan Sutra Tableau Painting> housed by Chionin, Japan, estimated from 1575 to 1577 during the Joseon Dynasty, and <Ksitigarbha Ten Kings painting> housed by Daifukuji temple, Japan in 1596, and <Ten Kings painting; 2nd, 4th, 6th, 8th, 10th kings> of Hwaeomsa temple, Gurye, Korea in 1862, shows the original screen composition ability of ‘Chuk‐yeon’ and is identified to be a Buddhist painting that maximizes the effect of focusing the viewer’s attention. In addition, through this, it shows an effective method of constructing a strong will that contains his own reinterpretation of the afterlife salvation, and we also investigated the screen composition power to form a sense of space in the flat screen, the screen operation method for the connection of scenes, and the background processing ability. And the color adoption ability of ‘Chuk‐yeon’ also uses scarlet and blue, which are close to complementary colors, whereas it was found that the soft leaf type of light green and ocher color were properly mixed to achieve harmony. In addition, in expressing Buddha and objects, we also explored the expression technique that emphasizes the three‐dimensional effect by applying the shading method, it was found that it started from <Painting of Tirkaya; Locana painting> of Haeinsa temple in 1885, reached its peak in the late 1920s. Through this study, it is meaningful to discover that ‘Chuk‐yeon’ is a painter‐monk that decorated the great end of modern Buddhist painting circles, and we look forward to more full‐scale and comprehensive research on this in the future.