서울 奉恩寺 佛畵考
A Study on Buddhist Paintings at the Bongeun-sa Temple in Seoul
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초록
본 논문은 서울 강남구 봉은사에 봉안된 불화를 중심으로 불화의 현황과 형식, 양식적 특징, 제작에 참여한 緣化秩과 施主秩에 대하여 고찰한 것이다. 봉은사에는불상과불화, 공예, 건축등각분야의문화재가다수전해오고있는데, 그중가장많은유물중의하나가불화이다.봉은사에봉안된불화는14종17점으로, 18세기말~19세기 말에 이르는 작품들이 주류를 이루고 있다. 봉은사는 15세기 말 정현왕후에 의해 중창된후 명종대에 이르러 禪宗 首寺刹이 되어 서울의 중심적인 도량이 되었으나 임진왜란과 병자호란등을겪으면서堂宇가소실되어여러차례에걸쳐중수되었다.이러한과정에서옛불화들은 모두 없어지고 1777년에 조성된 시왕도 2폭이 가장 오래된 불화로 알려져 있다. 그러나이를제외한나머지작품들은모두1840년대이후에제작되었는데, 19세기중반에는南湖永 奇大師의 주도 하에 화엄경 등의 판각불사가 활발하게 이루어지면서 봉은사의 사세가 확장되었으며, 이러한 분위기 속에서 불화제작이 성행하였다고 생각된다. 따라서 봉은사의 불화는 19세기 중, 후반의 활발했던 佛事를 배경으로 제작되었고, 그 결과 현존하는 대부분의 작품들이 이때 제작되었다. 봉은사의 불화는 특히 조선말기 왕실과 고위관료-헌종의 후궁인 順和宮 金氏를 비롯하여19세기 말의 세도가인 閔斗鎬, 궁중의 상궁 등-의 후원으로 조성된 작품(괘불, 대웅전 영산회상도 등)이19많아 세기 말 봉은사의 위상을 잘 보여주고 있다. 19세기에 들어와 칠장사ㆍ흥천사ㆍ봉은사ㆍ망월사ㆍ불암사ㆍ고양 흥국사ㆍ수국사ㆍ개운사ㆍ진관사ㆍ청룡사 등 서울, 경기지역 사찰을 중심으로 이루어진 왕실의 佛事는 조선말기 불화의 양적 성장 뿐 아니라 질적 성장을 가져오는 데에도 크게 기여하였다. 金箔이나 金泥와 같은 값 비싼 안료를 많이 사용하였으며, 당시 궁중에서 애용하였던 民畵 속에 등장하는 器物 들이 그대로 반영되어 있는등 왕실 취향의 불화양식을 수립하였는데, 이러한 양식은 봉은사 불화에도 그대로 반영되어있다. 또한, 봉은사 불화는 18세기후반~19세기 말의 서울, 경기지역 불화의 양식을 그대로 반영하고 있다. 봉은사 불화에 참여한 70여 명의 화승 중에는 慶船 應釋ㆍ影明(永明)天機ㆍ金谷 永煥ㆍ漢峰 瑲曄ㆍ禮芸 尙奎ㆍ德月 應崙ㆍ東昊 震徹ㆍ虛谷 亘㥧(亘巡)ㆍ梵華 潤益ㆍ大虛 軆訓ㆍ明應幻鑑ㆍ蕙山竺衍ㆍ普應文性등당시최고의화승들이포함되어있다. 이것은봉은사불화가당시인근지역의불화양식을그대로반영하고있는한편,서울, 경기지역불화양식을 주도해나가는 데에도 크게 기여했다는 것을 의미한다.
Abstract
The present study examined Buddhist paintings enshrined in the Bongeun-sa Temple at Gangnam-gu, Seoul focused on the current state and forms of the paintings, the characteristics of their styles, and the participants and donators in creating the paintings. There are 14 kinds of 17 Buddhist paintings enshrined in the Bongeun-sa Temple, most of themcreated in the late 18th century through the late 19th century. Since it was rebuilt by Queen Jeonghyeon in the late 15th century, the Bongeun-sa Temple became the headquarters of the Zen sect and the central Buddhist seminary in Seoul under the reign of King Myeongjong. However, many of its buildings were destroyed by fire during the invasion of Japan in 1592 and the invasion of Manchu in 1636, and reconstructed several times. In the course, old Buddhist paintings were all lost, and the two-folded Siwang(10 Kings of Hell) paintings created in 1777 is known to be the oldest Buddhist painting in the temple. All the other works than the painting were created in 1840 or later. During the mid 19th century, Buddhist projects including the engraving of the Avatamska Sutra were active at the temple under the leadership of Saint Namho Yeonggi and as a consequence the influence of the Bongeun-sa Temple was heightened. In this environment, Buddhist paintings were also created actively. Many Buddhist paintings inc luding those still extant at the temple were made as part of the ac t ive Buddhist projects during the mid and late 19th century. Many of Buddhist paintings (hanging paintings, Yeongsanhoisangdo in Daewoongjeon, etc.) at the Bongeun-sa Temple were created under the sponsorship of the royal family and high officials in the late Joseon Dynasty Sunhwagung Kim who was a royal concubine of King Heonjong, Min Du-ho who was a man of power in the late 19th century, court ladies, etc. This suggests the status of the Bongeun-sa Temple in the late 19th century. Entering the 19th century, Buddhist projects in Seoul and Gyeonggi-do sponsored by the royal family made great c ontributions to the quantitative and qualitative growth of Buddhist paintings in the late Joseon Dynasty. The style of Buddhist paintings suiting the taste of the royal family was established, using expensive materials such as gold foil and gold paint frequently, and reflecting court articles observed in folk paintings as they were, etc., and the style is also observed in the Buddhist paintings at the Bongeun-sa Temple. In addition, the Buddhist paintings in the Bongeun-sa Temple reflect well the styles of Buddhist paintings in Seoul and Gyeonggi-do during the late 18th century through the late 19th century. The Buddhist painters who participated in the creating of Bongeun-sa Buddhist paintings include the most prominent painters in those days including Gyeongseon Eungseok, Yeongmyeong Cheongi, Geumgok Yeonghwan, Yewoon Sanggyu, Daeheo Chehoon, Hyesan Chukyeon and Boeung Munseong. This means, on the one hand, that Bongeun-sa Buddhist paintings reflected the styles of Buddhist paintings in the areas around the temple and, on the other hand, that they led the styles of Buddhist paintings in Seoul and Gyeonggi-do.