古山堂 竺演作 安養庵 神衆圖 연구

Abstract

A Korean modern Buddhist painting has been made full use of the technique of Western painting introduced with inflow of Western culture under Japan's colonial rule of Korea. As a result, a great number of both experimental and originative Buddhist paintings were produced. The importance of modern Buddhist painting has been received attention in studying Buddhist Arts due to the great quantity of paintings and continued tradition in recent days. A study on the paintings and painters from the late Chosŏn dynasty to the modern period has recently been very active. Especially the study on Chook-Yun at Gosandang, the modern Buddhist painter taking an active work from the late 19th century to the early 20th century, has been under vigorous discussion concerning the period of works, motives, and application of Western technique. The Anyang Temple, where the works of Chook-Yun at Gosandang are housed, has a large amount of cultural assets for the research of modern Buddhist Arts. According to the periodical "Anyangamji", for 11 years started with Amitabha hanging Buddhist painting in 1919 and ended to Jijang-Siwang hanging Buddhist painting in 1930, 9 works of Buddhist paintings, 2 works of hanging Buddhist paintings, and a sculpture of Viday-vaja manufactured by Chook-Yun are collected in Anyang Temple. The Chook-Yun's painting of the guardians of Buddha in the Hall of the Great Veneration, manufactured with collaboration of Moon-sung at Boeungdang, Hak-song, and others in 1924, has designated as cultural property of Seoul Metropolitan in 2004. The painting of the guardians of Buddha in Anyang Temple belongs to one of the types of Vajra thangka where Skanda, Indra Brahma are arranged on the both sides of Ucchusman. Though the exact date for the appearance of Ucchusman in the painting of the guardians of Buddha is not quietly sure, it has been believed to be related to Buddhist ceremony prevailed during the late Chosŏn dynasty period. Beginning with the painting of guardians of Buddha in the Hall of the Great Veneration at Kimyong Temple in 1803, there are 20 works drawn with Ucchusman are confirmed until the nineteen-thirties. And 5 works are manufactured by Chook-Yun, and this forms one fourth of the entire number of paintings. Furthermore, Ucchusman is appeared on one third of Chook-Yun's overall paintings. This is attesting to a possibility that Chook-Yun has a great interest in the iconography of Ucchusman in the production of the painting of guardians of Buddha. The painting of guardians of Buddha in Anyang Temple is the latest one drawn by Chook-Yun out of the 14 extant works. He had started producing a new style of painting of guardians of Buddha centering around Ucchusman since 1910. Ucchusman is appeared on the overall paintings made since 1910 only except the ones in Tong-do Temple and Magok Temple. Since the iconography of Ucchusman is mainly appeared in the Chook-Yun's works of the early 20 century, it might be inferred that the iconography of Ucchusman has appeared for the first time along with the advent of new motif in his paintings. Also the painting of guardians of Buddha at Anyang Temple shows more developed formation compared to the other ones from Jeon-deung Temple and Jung-soo Temple, both manufactured in 1916 by Chook-Yun. This dissertation is to find the significance of the painting of guardians of Buddha at Anyang Temple in studying modern painting of guardians of Buddha and focusing on the features of composition, form, color, pattern after understanding of the background and phenomenon of the painting.