佛畵僧 慧湜의 畵蹟과 表現技法에 대한 考察

Abstract

Hyesik, who left two Buddhist paintings created in 1739 and 1742 respectively, the painting work in 1740, when Geon-chil Avalokitesvara(乾漆觀音菩薩像) at Pagyesa Temple, Daegu was repaired, and two portraits revised in 1749, engaged himself in Buddhist painting for 10 years from 1739 to 1749. Nevertheless, as we cannot find any name but the head painter monk, it is impossible to grasp his private history by clarifying from which time he began to make relations with which painting faction and to which time he worked actively. As such, Hyesik attracts our attention in that he created high quality Buddhist paintings as well as monk portraits though he left only 4 pieces of painting work for 10 years. Thus, this paper divided Hyesik’s painting works into Buddhist paintings and portraits, and then examined the activities and painting styles of their factions while taking a look at his expressive techniques in accordance with his painting works. Especially, in the examination of the expressive techniques seen from the portraits of Daesongdang(對松堂) and Hwanjeok -dang(幻寂堂), the record and history of which have not been left or known well, this paper examined what characteristics they had in comparison with the expressions of Buddha in two Buddhist paintings in Haeinsa Temple and Yeongchwisa Temple. In addition, given that the main base for Hyesik was the Gyeongsangdo region, this paper investigated Buddhist paintings and portraits in this area for comparison with Hyesik’s paintings. Though the examination was not satisfactory since we had insufficient data only with two Buddhist paintings and two portraits, this paper can find its significance from the fact that it shed novel light on Buddhist painter monk Hyesik’s own Buddha expression techniques, coloring methods, and line drawing techniques based on his Buddhist paintings and portraits. In particular, it can be said that the Buddha figures with graceful feelings and colors with clear and bright feelings seen from the paintings created by Hyesik as the head painter monk were achieved in his own expressive methods. It is hoped that this paper can provide a basis for establishing the Buddhist painter monk Hyesik’s nature with more of his works and data found.