조선 후기 興天寺 極樂九品圖(1885년) 연구

Abstract

As the nation Joseon’s fate was declining at the end of the nineteenth century, it has been recognized that the fine art tradition of this period also declined sharply. However, through the artworks of this period, It can be found that, in addition to inheriting the great traditions of the past, they were actively accepting cultural stimuli at the time and pursuing new changes. This study focused on this, and through the identification of form and style characteristics of the <Painting of Nine Stages of Heaven> at Heungcheonsa (興天寺), Seongbuk‐gu, Seoul created in 1885, the following contents were obtained. Heungcheonsa is an ancient temple (古刹) that was first built in 1397, although it was relocated. Today, it is regarded to be very important for Heungcheonsa to enshrine many Buddhist statues and Buddhist paintings over the ages. Among them, four Buddhist paintings including 1885 Heungcheonsa <Shinjungdo> were enshrined together. The 1885 Heungcheonsa <Painting of Nine Stages of Heaven> that was created in 1885 with Shinjungdo at the same time is a Buddhist painting with a unique style. In Joseon in the 19th and 20th centuries, a new type of <Painting of Nine Stages of Heaven> came up with a new form of screen‐splitting composition, and this is a unique picture style that appears mainly in Seoul and Gyeonggi regions. Heungcheonsa <Painting of Nine Stages of Heaven, 1885> is a Buddhist painting of royal‐sponsored temple. This is a representative example work that shows the world of Heaven that people dreamed at the time, dividing the scene of Heaven and the scene of going to Nirvana into nine screens. The screen composition of the existing three of Heungguksa – Heungcheonsa ‐ Suguksa paintings is a Buddhist painting that visualizes Nine Stages of Heaven (九品) of "Amitāyur‐dhyāna‐Sūtra". <Painting of Nine Stages of Heaven> can be seen mainly in Byeonsangdo types of Buddhist paintings, and it is one of the most important images that also emerged in the <painting of the paradise of Amitabha>. It can be seen that this screen‐splitting composition is expressed in the same way in all three works of <Painting of Nine Stages of Heaven>. In the results of examining three works of <Painting of Nine Stages of Heaven> at Heungguksa • Heungcheonsa • Suguksa in comparison with the <Illustration of Amitayur‐dyana‐sutra>, Heungcheonsa <Painting of Nine Stages of Heaven> is composed of <Painting of Nine Stages of Heaven>, which is composed by borrowing the composition elements in the middle and bottom of the screen of <Illustration of Amitayur‐dyanasutra>. The coloration is visually very intense with main colors such as red and blue. In addition, it is confirmed that the use of yellow, green, and contrastive blue is increased in use, and this sense of color is also characteristic of 'Chehun (體訓)'. In addition, it was possible to look at a new expression style of perception in the paradise world by inserting a scene which can be seen in the real world rather than the uniformized form of the previous period with the change of the period of the <Painting of Nine Stages of Heaven> in the latter half of Joseon. It seems that there was exchange between painters in Seoul and Gyeonggi regions leading to Chehun‐Chukyeon‐Seokun‐Geungbeop as painter monks of Heungcheonsa <Painting of Nine Stages of Heaven> (1885). In this period, it is possible to deduce that screen‐partitioned Buddhist painting was created intensively. Likewise, while trying to preserve the excellent tradition of the past art, it reflects the fact that it was seeking to change into modern art by accepting new external factors.