조선시대 영산회괘불도(靈山會掛佛圖)의 청문자상(聽聞者像) 출현에 관한 연구 (-진천 영수사와 안성 청룡사 〈영산회괘불도〉를 중심으로-)

Abstract

〈Yeongsanhoe Gwaebul-do (Youngsan Ritual Ceremony Buddhist Painting:靈山會掛佛圖)〉of the Joseon Dynasty pictorializes the Dharma meeting scenes of the Vulture Peak Mountain of Sakyamuni Buddha at the Main Great Hall described in 『Lotus Sutra (法華經)』. Among them, 〈Youngsan Ritual Ceremony Buddhist Painting〉(1653) in Yoengsusa Temple, Jincheon and 〈Youngsan Ritual Ceremony Buddhist Painting〉(1658) in Cheongryongsa Temple, Anseong show a lot of changes such as the appearance of ‘Cheongmunjasang (Image of the Listener:聽聞者像)’in the screen which could not be seen before. Ritual ceremony Buddhist paintings of the Joseon Dynasty known to date were done by starting with 〈The World-honored Buddha Banner Painting〉 in Jungnimsa Temple, Naju which was produced in 1622 and being variously interpreted in forms of Dokjondo, gathering paintings, Buddha Trikaya paintings, paintings of three worlds Buddha, and paintings of Trikaya and three world Buddhas until the late Joseon Dynasty. As the Joseon Dynasty gradually recovered the stable period after a time of chaos including Japanese invasions of Korea (1592~1593), ceremonies including the water and land ceremony and Celebration of Buddha’s Sermon on Vulture Peak Mountain were prevalent to soothe popular sentiment in the Buddhism circle. This says that previous Buddhism which had focused on the royal family or aristocrats dug deep into the vulgar herd. In the times and circumstances, the point that <Cheongmunjasang (Images of the Listener)> appeared in <Youngsan Ritual Ceremony Buddhist Painting> is part to understand Buddhism to the public. Buddhist monk-typed Cheongmunjasang produced after the 17th century appeared starting from ritual ceremony Buddhist paintings (1653) and showed the aspect that Bodhisattva-typed Cheongmunjasang which borrowed the woodcut print of the Ming Dynasty (明代) was changed to Buddhist monk-typed Cheongmunjasang. Especially, Park, Lan (朴蘭) who produced ritual ceremony Buddhist paintings in Cheongryongsa Temple in 1658 is guessed to be a court painter of Dohwaseo and this canbe found that the royal family contributed to the creation of Buddhist paintings. At that time, Myeongok (明玉) and Beomneung (法能) who had been active as court painters in Chungcheong-do produced ritual ceremony Buddhist paintings in Yeongsusa Temple (1653) and participated in doing ritual ceremony Buddhist paintings in Cheongryongsa Temple (1658). Myeongok was thought to reflect icons of the various woodblock-printed books which had been possessed in each temple in the drafts of Buddhist paintings as he participated in the Buddhist service of scripture publication as the sculptor of the woodcut print of 『Lotus Sutra』produced in the who area of Chungcheong-do. Exchanges among these temples served as a momentum of improve levels of Buddhist paintings. They showed a new side of Buddhist paintings by escaping from the framework of the iconic form that they dogmatically (敎條的) followed and accepting eloquent line drawing and flexible colors. The screen composition follows the form of the gathering paintings which had been done before. For ritual ceremony Buddhist paintings in Yeongsusa Temple (1653) among them, the composition is characterized by much more complexity as the expression contents got to be various. The screen describes various objects which had been ancestral ritual formalities realistically and concretely. The ritual ceremony Buddhist paintings in Cheongryongsa Temple (1658) show the tendency to reduce the contents or change several persons depending on the sizes of the screen. The works of art similar to this include in Ansimsa Temple (1652), Hwaeomsa Temple (1653), and 〈Youngsan Ritual Ceremony Buddhist Painting〉in Biamsa Temple(1657). When the above contents are combined, Cheongmunjasang shown in 〈Youngsan Ritual Ceremony Buddhist Painting〉in Yeongsusa Temple and Cheongryongsa Temple is a product (所産) of the exchanges of the then court painters. This holds a very important position in history of Buddhist paintings as it plays a role as a bridge between Buddhist paintings of the previous Buddhist paintings and Buddhist paintings of the 18th century.