부여 무량사 극락전 아미타삼존후불도 연구

Abstract

Geungnakjeon Hall at Muryangsa Temple in Buyeo, rebuilt in 1623, has a two-story external structure and single, open-floor internal structure. It is one of the most important multi-story buildings of the late Joseon period. Inside the hall are a clay Amitābha triad produced in 1633 and statue-backing Amitābha paintings dating from 1747, all in their original condition. The hanging Buddha paintings in the hall are outstanding works, rendered in light colors and comprising three panels. Created to fit the height of the hall’s two-story interior, they hang on the wall behind the Buddha statues. With a height of almost eight meters, it is the largest extant example of a Buddha statue-backing painting. It is highly significant in that it is the only three-panel statue-backing painting to depict an Amitābha triad, a unique subject; most other such works depict the Buddhas of the Three Realms (samsebul; 三世佛) or the Three Bodies of Buddha (samsinbul; 三身佛). Large Buddha statue-backing paintings were first produced in earnest in the early 18th century; large Buddha painting techniques had already been perfected in the 17th century through the production of hanging paintings for use in outdoor rituals nationwide. Leading late-Joseon painter-monk Uigyeom was highly experienced in this genre, having produced five hanging Buddha paintings and three sets of three-panel statue-backing paintings. The leading painter-monk in the production of the hanging Buddha painting in Geungnakjeon Hall at Muryangsa Temple was Hoemil, who worked with Uigyeom for some 20 years. Although Uigyeom is not mentioned in any inscriptions on the Muryangsa Geungnakjeon paintings, they can be seen as works that incorporate the technical skills that he attained in the production of large Buddhist paintings. His painting style can be strongly felt in the composition, expressive techniques and forms of the Amitābha triad, indicating that Hoemil directly inherited Uigyeom’s style. The Muryangsa Geungnakjeon hanging Buddha paintings are significant for their prominent display of technical skill used to produce large Buddha paintings of this kind; for their rarity as three large Amitābha backing paintings; and for the way they demonstrate the outstanding painting style of Uigyeom’s group of painter-monks. Their excellent style can be seen as the best example of Buddhist painting in the mid-18th century.