19세기 후반 영남의 喚醒系 僧侶門中과 四佛山畫派 畵僧

Abstract

This study focuses on Uiunjau and Haeuneunsang, who represented the Sabulsan School, and explores the assistance relationship with the Monk Lineage of Hwanseongjian. So far, research on Uiunjau and Haeuneunsang has focused in revealing only the figurative activities and the characteristics of the painting style of the two painters representing the Sabulsan Schools in the late 19th century. Among the monk painters who were active in the late 19th century, Uiunjau was respected enough to paint his portraits and Haeuneunsang still has a reputation as a representative painter of the Sabulsan School to this day. The reason that they were respected as a Seon Master or Buddhist Painter is because of the help from the Monk Lineage of Hwanseongjian settled in Yeongnam during the late Joseon period and the activity of ToeunSingyeom living as a Seon Master in their lineage. Uiunjau succeeded both the Dharma and Paint school of ToeunSingyeom who came from Poweol’s monk Lineage of Hwanseongjian descent. He worked as a respected Seon Master who was active like the Chief Priest of Pyochungsa temple and Jungchangju of Deaseungsa temple while producing Buddhist paintings. His presence as a Buddhist painter and with the qualities of a Seon Master has changed people’s perception of a Buddhist painter following ToeunSingyeom, which became the background of producing portraits of Buddhist painters from the Sabulsan School. Haeuneunsang, Buddhist painter of the Sabulsan School, was from the Hamweol’s monk Lineage of Hwanseongjian descent. The Hamweol’s monk Lineage, represented by YeongpaSeonggyu in the late 18th century, formed a friendly relationship with ToeunSingyeom, a native of the Poweol’s monk Lineage of Hwanseongjian descent. This relationship affected the reputation of Haeuneunsang who succeeded ToeunSingyeom as the Sabulsan school’s representative monk painter in the late 19th century. The fact that Uiunjau and Haeuneunsang were able to have different achievements from the numerous monk painters who were active during the same time period was possible because there was the Monk Lineage of Hwanseongjian that recognized the monk painters who had built the practice and merit as a Soen master and actively supported their activities.