海雲堂 益贊의 熾盛光如來圖 도상연구

Abstract

Haeundang Ik-chan (海雲堂 益贊) was an outstanding painter and a disciple of Punggye Hyeon-Jeong(楓溪 賢正). He led the Buddhist painters’ society in Jeolla Province during the 19th century, following the traditional Buddhist painting iconography established by Uigyeom(義謙) in the 18th century. “Chiseong Gwangyeo Eraehoedo,” housed in the Busan National University Museum, is considered a significant work that reflects Ik~chan’s painting style. This style not only preserved traditional elements but also introduced new iconographic interpretations within Buddhist painting. The painting housed in Busan National University Museum, created alongside Do~Soon(道順) of Seoundang, appears to consist of multiple pages rather than a single one. This assumption is based on comparisons with the Daeheungsa series, which depicts the Sunwolsang, and the Seonamsa Series, both composed of several pages. This particular painting holds importance as it embodies all the defining characteristics of “Chiseong Gwangnyeo,” painted by Ik~chan. Ik~chan adhered to traditional iconography while creatively composing the layout of Buddhist paintings. An example of the form of the screen constructed using a large circle can be seen from the works from the 18th century. The appearance of Chiseong Gwangnyeo with a bowl of medicine in her hand represents a religious tradition that is related to pharmacological beliefs. This form of Buddha representation is a regional characteristic unique to Buddhist paintings from Jeolla Province. Similar forms can be found in Japanese esoteric Buddhism mandalas, where the sun and moon are depicted at the top of the screen. It is believed that Ik~chan’s teacher, who traveled to Japan, encountered Japanese Buddhist iconography and passed its influence on to his disciples. Ik~chan’s Chiseong Gwangnyeo, which newly composed the screen of the painting by reflecting esoteric paintings while accepting the regional characteristics of faith and iconography traditions, is highly valuable in art history. It demonstrates that Ik~chan was not merely a painter-monk but also a distinguished scholar of Buddhist doctrine and scriptures.