朝鮮時代 佛敎版畵의 樣式과 刻手

Abstract

Illustrations in the Buddhist scriptures from the Joseon Dynasty are wood‐block prints. Wood‐block prints are created through three processes – sketching, woodcutting and printing – and therefore all the three processes should be considered in order to analyze the styles of woodcut prints. Among the processes, woodcutting is most important. It is because, for the same sketch, woodcut prints are slightly different according to the woodcutter’s woodcutting method or skill. Particularly when new Buddhist scriptures are printed through wood‐block printing, they are often reproduced (by attaching an existing woodblock‐printed page to a woodblock inside out and engraving the block). As reproduced books are again reproduced repeatedly, woodcut prints become more different from the original print. What is more, even if scriptures are printed in the same period, the style of the woodcut print varies according to the woodcutter’s woodcutting method or skill. Therefore, in studying the styles of woodcut prints, it is most important to analyze the woodcutters’ woodcutting characteristic and technique. In general, woodcutters who engrave illustrations in Buddhist scriptures are more skillful than those who engrave texts, and there are some woodcutters specialized in illustrations. Woodcutters who created many illustration woodcut prints or displayed unique woodcutting methods include Lee Jang‐son, Kim Gye‐sin and Buddhist Priest Haeo in the 15th century, Doseong, Gyeongyeon, Seokgyeon, Euiyeon and Tawoo in the 16th century, Ilwook, Jiik, Yeonhee and Jamin in the 17th century, Chwigi in the 18th century, and Eungseok and Lee Gye‐baek in the 19th century. In addition, illustration woodcutters marked their name in five ways: (1) within the woodcut print; (2) on the plate of connected edges; (3) on the margin; and (4) if there is only one woodcutter, he is also the woodcutter of the illustrations. For example, in case a number of illustrations are contained in a book as in Bumoeunjunggyeong and there is only one woodcutter, he engraved both the text and the illustrations. (5)Rarely the illustration woodcutter’s name is marked in postscript . Sometimes in case of (1), a box is used (1‐1), the name is marked in small size without a box (1‐2), the name is marked below the title of the scripture (1‐3), or postscript is added for illustrations (1‐4). Like these, illustration woodcutters’ name was marked in various ways.