흥천사 극락보전 지장시왕도 연구 - ‘善惡童子’ 도상의 연원과 전개양상을 중심으로 -

Abstract

This article examined the form, style, and iconography of Painting of Ksitigarbha Bodhisattva and Ten Underworld Kings, which was created as a middle altar frame at the the Hall of Paradise in Heungcheonsa-temple in 1867 (Gojong 4th year). In the 19th century when Ksitigarbha and Ten Underworld Kings Painting at Heungcheonsa-temple was created, a new iconography was created while inheriting the traditional style, and at the bottom of the screen in Ksitigarbha and Ten Underworld Kings Painting, the two images of vice child and virtue child were newly established. Ksitigarbha and Ten Underworld Kings Painting at the the Hall of Paradise in Heungcheonsa-temple, created in 1867 with donations of court ladies and home believers, is a work to which such a new iconography is applied, and in the center of the lower part, ‘vice child and virtue child with peony flowers worn on the head’ were placed. Although the iconography of vice child and virtue child of Ksitigarbha and Ten Underworld Kings Painting at Heungcheonsa-temple was started by a painter monk Jiyeon at Gyeongsang-province and applied by Jawu, after this work, followed by Ksitigarbha and Ten Underworld Kings Painting at Gaeunsa-temple (1870), Ksitigarbha and Ten Underworld Kings Painting at the main hall of Mitasa-temple (1873), Ksitigarbha and Ten Underworld Kings Painting at Jeongsusa-temple (1878), Ksitigarbha and Ten Underworld Kings Painting at Bongrimsa-temple (1883), Ksitigarbha and Ten Underworld Kings Painting at Bongguksa-temple (1885), Ksitigarbha and Ten Underworld Kings Painting at the Geukrakjeon of Mitasa-temple (1887), and Ksitigarbha and Ten Underworld Kings Painting at Baekryeonsa-temple (1888), which led the fashion of Ksitigarbha and Ten Underworld Kings Painting in Seoul and Gyeonggi area in the 19th century. In this respect, Ksitigarbha and Ten Underworld Kings Painting at Heungcheonsa-temple not only shows the interchange relationship of Buddha paintings in Seoul, Gyeonggi area, and Gyeongsang-province area, but it is significant as a leading work as well in the popularity of ‘vice child and virtue child’ iconography of Ksitigarbha and Ten Underworld Kings Painting in Seoul and Gyeonggi Province in the 19th century.