구례 천은사 팔상전의 <영산회상도> 고찰

Abstract

It is estimated that the Yeongsanhoe-do of Palsangjeon Hall of Cheoneun-sa temple was built in the early 18th century (1715) during King Sukjong's reign. At present, Part of (information about the Painting) the lower part of the Painting is cut, and the screen condition is also very bad, so emergency preservation processing has recently been performed. The characteristics of Cheoneun-sa Yeongsanhoe-do(Painting of Sakyamuni’s Preaching Assembly) were examined, including the head and face representation of the main image, the halo of the principal image, Buddhist bodhisattva's robe pattern, Bodhisattva's figure, an auspicious pattern on the lower part and frame, and placement problems on the Four Heavenly Kings. This Painting has characteristics from the late 17th century to the early 18th century. In addition, although it is not known exactly who was involved in the production of the Yeongsanhoe-do(Painting of Sakyamuni’s Preaching Assembly) of Cheoneun-sa temple, it is presumed that at least members of the painters group who were active in the late 17th century and early 18th century were involved in the Jirisan Mountain or Jeolla region. In addition, in the case of Amitabha Buddhist painting (1776) at Paradise Hall of Cheoneun-sa Temple and buddhist painting (1853) at Samilam Hermitage of Cheoneun-sa temple, each iconography has its own name. However, it is true that the names of Bodhisattva and the Four Heavenly Kings are not written on the Yeongsanhoe-do (1776), which was produced around the same time as Geungnakbojeon Amitabha Buddhist painting(1776). It is also the same iconography, and the iconography name is not listed in the work of Yeongsanhoe-do(1715), which is the subject of this study. In other words, while the Buddhist paintings of Hwaeom and Amita have pictures of the defense of the east, west, north and south and the name of the icon of the Four Heavenly Kings, there are few cases of writing the name of the icon in the Buddhist paintings of Sakyamuni(Yeongsanhoe-do). At least, the name of the Four Heavenly Kings seems to have been largely divided according to the painting of Hwaeom and Beophwa in the Joseon Dynasty. In the future, it seems necessary to consider the direction of east, west, north, and south and the issue of iconography in relation to the faith system.