17세기 충청도 지역 장엄신 괘불화와 화승 응열

Abstract

Jangeomsin Gwaebullhwa(莊嚴身 掛佛畵) is a form of Gwaebulhwa (Buddhist hanging scrolls used for outdoor rituals). It depicts Tathagata with sanctified body wearing a jeweled crown. Currently identified paintings in this form date back as early as the 17th century, a period in which outdoor Buddhist rituals were widely practiced. It means that Jangeomsin Gwaebullhwa scrolls began to be created in the early days of Gwaebulhwa. There are currently 120 pieces of Gwaebulhwa, of which around one sixsth are Jangeomsin Gwaebullhwa scrolls. The areas that created Jangeomsin Gwaebullhwa scrolls noticeably changed between the 17th and 18th centuries, from Chungcheong-do to Gyeongsang-do. Chungcheong-do is particularly significant in that it is home to Muryangsa Gwaebuldo (1627), which is the first of Jangeomsin Gwaebullhwa to be created, and provides an insight into the shaping of the Jangeomsin iconography featured in 17th century examples. This study analyzes the emergence and shaping of the iconography by focusing on the Jangeomsin Gwaebullhwa scrolls created in the 17th century Hoseo area, and examines the life of Buddhist Monk Painter Eungyeol(應悅), who played a central role in the process. Eungyeol was a Buddhist monk painter based in the Hoseo area, who has been credited with eight activities including the two labor services recorded in Uigwe (royal protocols of the Joseon Dynasty) and the Buddhist services in which he participated as a Dancheong painter and a patron. Only three of his works have been identified, all of which are Gwaebulhwa. However, despite their small numbers, Eungyoel’s works provide clues about the painter’s relationship with Buddhist Monks Gyeongjam(敬岑) and Hagjeon(學全), and the establishment of a painting school. He is also connected to the Buhyu monk clan through Gyeongjam. These relationships are also evidenced by the fact that the confirmer of Sinwonsa Gwaebuldo (1664) and the 14 figures who participated in Sudeoksa Gwaebuldo (1673) can be found on Hwaeomsa <Byeongamdaeseonsabi>. This study also inferred that the original enshrinement place was inside the Donghaksa Temple or the Gyeryongsan Mt. area from Eungyeol’s activities and the records in Sudeoksa Gwaebuldo, and narrowed the possible areas where the painter may have created the paintings. A noteworthy fact is that Eungyeol created Sinwonsa Gwaebuldo and Sudeoksa Gwaebuldo as Jangeomsin Gwaebulhwa, which are presumed to share the same underdrawing. The two pieces attest to Eungyeol’s attempt to understand Jangeomsin Gwaebulhwa, which had been originally perceived as Maitreya paintings, as Locana paintings in line with the Yeongsanhoe ritual. This attests to the diverse names given to Jaongeomsin at the time, and also demonstrates the gradual replacement of Maitreya with Sakyamuni in Jangeomsin paintings after Ojongbeomeumjip(五種梵音集) (1661). Eungyeol embraced the styles of previous works and developed them into his own painting style. Muryangsa Gwaebuldo evidences the inheritance of iconography and motifs, and Gapsa Gwaebuldo (1650) shows the inheritance of painting style. A comparison of Gwaebuldo paintings at the Sudeoksa Temple and the Sinwonsa Temple allowed for an inference of the ainting style and techniques. As discussed above, this study analyzed and examined how Eungyeol embraced and modified the iconogrphy and painting styles of the Hoseo area, and how the Jangeomsin Gwaebulhwa format was shared within the area. The discussions show that Eungyeol is one of the key fitures in understanding the emergence and early development of Jangeomsin Gwaebulhwa and the painting styles of the Hoseo area in the 17th century.