18세기 경북 의성의 불교회화와 제작자 - 밀기(密機), 치삭(稚朔), 혜식(慧湜)의 불사(佛事)를 중심으로

Abstract

Buddhist monk-painters(畵僧), the principal creators of Buddhist paintings, are essential to the study of the history of Buddhist paintings. Early research focused on investigating and classifying schools of monk-painters who worked across the country during the Joseon period and understanding the sphere of their local activities. Focus was also placed on the current state and tendencies of their paintings. In this process, the main producers of Buddhist paintings, who also engaged in bulsa(佛事, Buddhist services) at large and major Buddhist temples around the nation, were identified, and the styles and production trends of Buddhist paintings were examined. Since they based themselves out of a particular temple and visited other temples in need of artworks around the vicinity, monk-painters’ temple of origin has played a significant role in the understanding of these artists. However, the paucity of historical documents or literature on monk-painters continues to limit the understanding of their lives, their status within temple organizations, and the mechanism of commissioning Buddhist paintings. Buddhist monk-painters were invited to come and paint by temples across a variety of regions. Thus, the scope of their activities was not confined to regional administrative districts. During a grand bulsa supported by the royal family or prepared by a congregation of monks from a given Buddhist order, monk-painters from different schools collaborated to create Buddhist paintings. Accordingly, research focusing on these painters is limited. Moreover, when the relations between monk-painters and the temples commissioning the production of paintings were examined, there were found connections between them such as whether the monk-painters belonged to the same Buddhist order with the patron temple or whether the commissioned monk-painters had studied under the monks of the patron temples. Since the accumulation of further information about regional and periodic bulsa is leading to a fuller understanding of the production of Buddhist paintings, complementary studies on both painter-based and region-based should to be conducted. To meet this need, this paper explores bulsa which groups of monk-painters participated in the production of Buddhist paintings in Uiseong, Gyeongsangbuk-do Province during the eighteenth century. Uiseong is situated to the south of the Joryeong and Chugnyeong hills at the division between Chungcheong-do and Gangwon-do provinces. Uiseong borders Andong to the north and Gunwi and Daegu to the south. The city is also adjacent to Cheongsong, Yecheon, Mungyeong, and Sangsu to the east and the west. Due to the geographical position, Uiseong holds abundant Buddhist cultural properties produced over different periods in close association with neighboring regions. The second chapter of this paper examines the bulsa led by monk-painters, including Milgi(密機) and Chisak(稚朔), in Gyeongsangbuk-do Province through surviving Buddhist paintings at Jeongsusa Temple and Daegoksa Temple. In the context of royal patronage during the reign of King Yeongjo(英 祖, r. 1724–1776), the following chapter scrutinizes the prayers and votive objects enshrined within the sculptures of Buddhas and bodhisattvas documenting massive Buddhist services supported by King Yeongjo in the eighteenth century. It especially concentrates on the Buddhist monk painter named Hyesik(慧湜), the creator of Kshitigarbha Bodhisattva(1739) at Haeinsa Temple and Shakyamuni Buddha Preaching at the Vulture Peak(1742) at Yeongchwisa Temple. Some historical records indicate his participation in Buddhist services in Uiseong. This chapter also discusses characteristics of Buddhist culture in Uiseong and the exchange of painting styles between Hyesik and another monk painter from a different region who collaborated with him on massive Buddhist services in Uiseong. Located in the inland region of Gyeongsangbuk-do Province, Uiseong developed a diverse Buddhist culture through cultural exchanges with neighboring areas. The creators of the Buddhist paintings of Uiseong were influenced by the Palgongsan painting school centering on Palgongsan Mountain and led by monk-painters such as Uigyun(義均), Kwaemin(快旻), and Seokmin(碩敏). They were also impacted by the Sabulsan painting school centering on Daeseungsa and Gimnyongsa Temples. This paper investigates the paintings of Milgi who teamed with other monk-painters during the Buddhist services at Jikjisa Temple in Hwangaksan Mountain and Donghwasa Temple in Palgongsan Mountain, interacted with several other painting schools, and pursued an individual style. It also addresses the work of Chisak, who led the Buddhist services at Daegoksa Temple. In particular, Portraits of the Three High Priests by Suin(守印) as well as Kshitigarbha Bodhisattva with the Ten Kings of the Underworld and the Nectar Ritual Painting by Chisak at Daegoksa Temple demonstrate the preceding style of the Sabulsan painting school that became formalized by Hongan(弘眼), Singyeom(信謙), Suyeon(守 衍), and Eungsang(應祥) from the late eighteenth to nineteenth century. Moreover, the Seated Wooden Amitabha Buddha and relics retrieved from it at Unramsa Temple in Uiseong and the Dry-lacquered Seated Avalokiteshvara Bodhisattva and its associated relics from Pagyesa Temple in Daegu are evidence of the sponsorship of large-scale Buddhist services held mainly at wondang sachal(願堂寺刹, royal Buddhist temples for praying) during the reign of King Yeongjo. Hyesik was in charge of producing Buddhist sculptures and paintings for several temples and affiliated hermitages, including Ongnyeonsa Temple, Gounsa Temple, and Ullamsa Temple, in Uiseong over a period of eighteen months from February in 1740 to July in 1741. Hyesik’s project began with the Buddhist services at Ongnyeonsa and Gounsa Temples prior to the designation of Pagyesa Temple as a royal prayer hall. The project peaked during the Buddhist services at Pagyesa Temple from the ninth month when the portrait of King Yeongjo was brought to the temple until the twelfth month when the portrait was taken back, and it continued until the seventh month of the following year with the project at Ullamsa Temple. The Buddhist services in which the monk-painters Hyesik of Gayasan Mountain and Milgi of Unbusa Temple participated are regarded important as they are the large-scale events of the Joseon Dynasty that were held through a collaboration among Buddhist monk painters from different regions. The bulsa led by Hyesik in the eighteenth century initiated a spread of royal patronage of Buddhism across neighboring regions through the designation of a temple as a royal prayer hall during the reign of King Yeongjo. These Buddhist services were held at Gounsa Temple in Uiseong, Pagyesa Temple in Daegu, and Ongnyeonsa and Ullamsa Temples in Uiseong. The establishment of Bongan Pavilion at Gounsa Temple in 1745 concluded such Buddhist services. Many examples of Buddhist paintings are known to have once existed in Uiseong, but only through historical records. In addition, some paintings have been stolen. For these reasons, Buddhist paintings in Uiseong have not been researched properly. The collection and integrated study of archival materials on non-existent Buddhist cultural assets would yield a deeper understanding of the diversity of Buddhist culture in Uiseong.