퇴운 신겸의 十王圖草와 使者圖草 연구

Abstract

Painting of Ten Kings of Hell from the first half of the 19th century has not been paid its due consideration compared to that of the 18h century or the second half of the 19th century. The lack of its distinguished stylistic development and continuous influence on the later Ten Kings of Hell paintings has been considered responsible for this. The fact Toeundang Singyeom(退雲堂信謙)’s Outline Drawings of Ten King of Hell and Four Messengers were produced in 1828 bespeaks that a new type of paintings of the Ten Kings of Hell and Four Messengers were produced in the first half of the 19th century and that a variety of styles in the type of paintings were in progress between the late 18th century and the latter half of the 19th century. Singyeom’s outline drawings helps us not only to analyze the master's execution and sphere of activity but also to study the transmission of his style. This research paper based on Singyeom’s record on the outline drawings aims to illuminate their features and determine the master's influence on later painters and their works. Singyeom’s outline drawings were used for the paintings enshrined in Myeongbujeon (Hall of Judgement;冥府殿) at Gounsa(孤雲寺 1828) and Jungheugsa(重興寺 1829) respectively. Stylistic features found in Singyeom’s outline drawings differ from those from the paintings of the same kind of the 18th century. The Ten Kings depicted in an imposing manner preside over accompanying attendants in a more complex scene. Ramparts replace clouds used to separate the upper part from the lower where various scenes of judgement and punishment are depicted. These changes already witnessed from the late 18th century led Singyeom to develop his own style. Singyeom’s outline drawings exerted a great influence on younger monk painters as Myeongan(明眼) and their works. It is clear that his outline drawings were used to produce the paintings of Ten King of Hell and Four Messengers enshrined in Myeongbujeon at Taegosa(太古寺), Silleuksa(神勒寺),Cheongnyeonsa(靑蓮寺) in Seoul and Gyeonggi Province, Buryeongsa(佛影寺)and Seokseonsa(禪石寺) in Gyeongbuk Province and so on. Among these, the Taegosa paintings reveal the closest affinity with Singyeom's Ten Kings of Hell paintings (1828) at Gounsa in composition, style, and the way each picture is mounted. The Taegosa pieces formerly owned by Jo Junghyeon(曺重玄) were one of the Yi Royal Family Museum's acquisitions in 1909 along with the paintings of Bhaisajyaguru Assembly and Amita Assembly, both formerly enshrined at Jungheungsa. Considering several aspects such as the museum’s acquisition of the Taegosa paintings along with the Junghheungsa paintings around the same time in the early 20th century, the geographic proximity between Jungheungsa and Taegosa, and historical circumstances, it is probable that Jungheungsa was the original location of the Taegosa paintings.