朝鮮後期 畵僧 指演에 관한 硏究

Abstract

Though Jiyeon(指演) was mentioned as a typical buddhist painter in the late period of Joseon Dynasty in the light of his capability and achievements, he could not greatly attract public attention under the penalty of popularity for buddhist painters representing a period and a region. Specially, in the Gyeongsang-do area where he had taken an active part, he was recognized as a buddhist painter failed to distinguish himself among buddhist painters to have relationship with him through painting after Yim Han(任閑) who was considered a representative buddhist painter since the first period of 18C. This paper might be highly evaluated in the aspects to closely look around his activity that was not well known in the meantime by revising, supplementing the opinion of existing research and contemplate the characteristic of his style in detail. Author could find based on some records and his works that the world of his works mainly remained in Eunhea Temple in Gyeongsangbuk -do, Tongdo Teple, Girim Temple and Seoknam Temple, and did not escape from Gyeongsng -do area including the whole area of Gyeongsangnam-do, additionally, found sources available to roughly estimate the fact that his life path period was between 1750 - 1840s through his achievement. He was soared up as a central figure from <Kistigarbha and the ten kings painting>(地藏十王圖)(1778) in Eunhea Temple, the earliest example remaining at present to make his appearance as a buddhist painter, and his buddhist works to repair exquisite beauty and temple palace in Tongdo Temple in 1792 by leading buddhist painters after being invited and to participate to play a role as 수화승 for <Gwaebul Painting>(掛佛畵) and <Three Bodhisattva painting>(三藏菩薩圖), etc. The buddhist works in Tongdo Temple at that time was a considerably large scale in which those buddhist painters living around as well as some buddhist painters acting in Jeolla-do participated. Considering this period, he might be invited to Tongdo Temple based on his awareness and his work activity with Pogaun(抱冠) who painted buddhist painting in Tongdo Temple before 1792. From the first period of 18C, the painting technique of Yim Han, who was considered a typical buddhist painter in the area of Gyeongsang-do, was shared rapidly through relationship with other buddhist painters based on his works. Jiyeon also aggressively accommodated the painting technique established before, specially, he showed conservative aspect to repeatedly utilized former iconolgy instead of creating new iconolgy. However, his painting technique that he pursued was not looked to be limited to inherit only former painting technique, though he participated in to play a role as 수화승 for works. His characteristic of expression technique shown in few works, the process to recognize image like <Kistigarbha painting>(地藏菩薩圖)(1798) in Tongdo Temple and the image of Kistigarbha and a young boy in Kistigarbha painting(1803) could received great attention in that they provided decisive sources to paint Kistigarbha and the ten kings painting in Seoul, Gyeonggi area in the middle- late period of 19C. Additionally, considering the line drawings of <In white Line drawing Seokga sermon painting>(白線描釋迦說法圖)(1786) in Geojoam in Eunhea Temple, that had been rarely seen, the necessity to shed light on his capability might be enough. This paper was focused on to look around his achievements and the characteristic of painting technique, who showed distinguished activities in Gyeongsangbuk-do area, Tongdo Temple and its neighborhood in the late period of 18C. Author handled the concrete activities of Jiyeon who had not attracted attention as an extension of existing researches based on documents, works and painting techniques, and had an opportunity to confirm his role in Gyeongsang-do area in the late period of 18C and his capacity.