송광사 고승 眞影 影讚의 분포 양상과 의의

Abstract

This study examined all the poems included in the portraits of high monks handed down in the Songgwangsa Temple and examined their cultural significances. An anthology of Buddhist monks contains poems from various portraits. However, it is difficult to ascertain in which era and context these poems were created. In addition, it is often not clear the relationships between the subjects of the pictures, the dialogues, and the poet's authorship. Relatively, the poems in the portraits remaining in the temple contain additional information. Through this, the motive of poetry creation, the relationship between monks and poets, and aspects of time and space can be confirmed in three dimensions. In this paper, we looked at all of the 20 or so praise poems recorded in Guksajeon, Pungam Yeonggak, and Songgwangsa Museum figure paintings. Song Gwang-sa’s poets are largely divided into four categories. The first is the 19th century monk writers. The second is Geummyeong Bajeong who attempted to restore the history of the Songgwangsa Temple. The third is Park Han-young and Song Tae-hoe, who shared a relationship with Geummyungbojeong, and the fourth is Confucian scholars and bureaucrats connected with Geummyungbojeong. Poetries handed down in the Songgwangsa Temple is a historical and ideological text that reflects the genealogical consciousness of modern high priests who wanted to promote Buyupa. And it can be said that it is a cultural text produced through the exchange of Buddhist intellectuals centered on Geummyeongbojeong. The camp of Songgwangsa investigated in this paper has the meaning of basic data research.