18세기 후반 불국사 대웅전 중창 불사와 후불벽 불화의 조성

Abstract

This paper examines the Buddhist project of Bulguk-sa Temple in 1765-1769—the reconstruction of Daeung-jeon and the production of its altar painting, and its donors and the monk-painters who engaged in the altar painting. The Buddhist project of Bulguk-sa in the 18thcentury began with the reconstruction of Daeungjeon in 1765, followed by a series of Buddhist projects—decorative paintwork on Daeung-jeon in 1767, and gold leaf gilding on its main Buddha statue and the production of its altar painting in 1769. The whole series of Buddhist projects was led by SeoakDotae(西岳道泰), a descendant of Byeokam Gakseong(碧巖覺性) clan. In the early 18th century, the Buddhist temples in the southern part of Yeongnam region, a stronghold of the members of Byeogam clan, often invited monk-painters from Honam region, and they cooperated with monk-painters of Yeongnam region in several Buddhist projects. The collaboration between the masters from both regions is well demonstrated in the reconstruction project of Daeung-jeon in 1765 in which Qwaeyeon(快演), a master builder from Honam region, took the leading role. This paper is primarily focused on the production of The Vulture Peak Assembly(1769) enshrined in Daeung-jeon at Bulguk-sa and its monk-painters. Interestingly enough, the altar painting of the main Buddha hall is composed of three parts with a scroll painting in the center and a mural on either side of the hanging scroll. Jicheom(智瞻) was the leading monk-painter for the central scroll painting that depicts the Vulture Peak Assembly while Pogwan(抱冠) and Yuseong(有誠) were also the leading participants in the production of the murals of the Four Heavenly Guardians and other Buddhist guardian deities. The Vulture Peak Assembly(1769) produced under the leadership of Jicheom features a distinct style in its composition and illustration of figures different from those painted by the monk-painters of Yeongnam region like Pogwan and Yuseong in the 18th century. The Vulture Peak Assembly is the only painting by Jicheom so far known except for decorative paintwork on the pavilion for sacrificial rite in front of the royal tomb of King Taejo (r. 1392-1398) based on the old records. Therefore, little is known of whom Jicheom became a disciple and which area his activity centered around. Nevertheless, Jicheom was regarded as highly competent that he took the lead of other renowned monk-painters of Yeongnam region in the production of The Vulture Peak Assembly, the central piece of the main altar paining enshrined in Daeung-jeon. Considering the records that Princess Hwawan was a generous donor to the production of The Vulture Peak Assembly and that its monk-painters often made their visit to the capital city, it is probable that Jicheom was not a monk-painter of Yeongnam region but one invited from another region, i.e. Seoul and Gyeonggi, for The Vulture Peak Assembly.