근대기 서울·경기 畵師의 원정활동 일례: 해남 大興寺의 佛畵

Abstract

An Example of Other Area Activities of Buddhist Monk Painters from the Seoul․Gyeonggi Region in Modern Era: Buddhist Paintings of Daeheungsa Temple in Haenam Shin, Kwang-hee In 1901, 17 pieces of 11 kinds of paintings were made and enshrined in Haenam Daeheungsa Temple, which included works such as Three Buddhas, Shakyamuni Buddha's Preaching, Big Dipper Buddha, Three Bodhisattvas, Ksitigarbha, Buddhist Guardians, Ritual of Water and Land, Sixteen Arhats, Messenger from Hell, Hermit, and Mountain Spirit. These paintings were painted over the course of 45 days from November 1 to December 15, 1901. They were painted in Jinbulam Temple, a hermitage that is situated inside the temple grounds, and were moved to Daeheungsa Temple. A total of 19 Buddhist monk painters participated in this effort. Among them, Eungseok, Geungsun, Yunik, Hwangam, and Sanggyu led this collaborative effort and were considered to be distinguished Buddhist monk painters in the Seoul and Gyeonggi region, and their relations were harmonized with Eungseok acting in a facilitating role. The Buddhist paintings of Daeheungsa Temple were commissioned by Jeolla Provincial Governor Yun Ung-ryeol, Haenam Governor Lee Yong-woo, Court Lady Kim, and also Min Family. Among them, Yun Ung-ryeol was known as an important individual who closely interacted with the imperial family and the Enlightenment Party, while Court Lady Kim and Min Young-jun were related to the royal family. Therefore, it was determined that the distinguished Buddhist monk painters of the Seoul and Gyeonggi region could be mobilized for this creative effort, judging from the fact that people involved in the central authoritative apparatus were participating in donations. Among them, Eungseok was considered to be the most senior figure who could effectively lead this effort, based on his abundance of experience of drawing Buddhist paintings that were commissioned by Heungseon Daewongun's family, numerous ladies of the court, and other influential families. Painters who led the iconography of Buddhist paintings of that time tried to integrate new iconography in some Buddhist paintings of Daeheungsa Temple that were drawn in 1901. However, most of them accepted the iconography that was widely shared in the Seoul and Gyeonggi region. It has been deemed that the full intention of the painters were reflected, which sought to improve the work efficiency pursuant to the drawing of numerous Buddhist paintings within a short period of time. However, the scope was not limited to replication of the past iconography, but the existing techniques were modified in various ways including rearrangement, omission, and addition related to motif. Based on this, the prevailing attitudes concerning the inheritance of the iconography and competencies of Buddhist monk painters from the Seoul and Gyeonggi region could be assumed. Many Buddhist painters throughout the Seoul and Gyeonggi region participated in this large-scale project in 1901 and therefore, the iconography of the region was newly accepted in the Daeheungsa Temple and its surrounding areas, whereas Buddhist paintings in the areas inherited the iconography of their regions. As a result, it helped to spread the iconography of Buddhist paintings from the Seoul and Gyeonggi region to other parts of the country. Therefore, the Buddhist paintings of Daeheungsa Temple that were drawn in 1901 hold significant meaning as examples of the painting activities of Buddhist monk painters throughout the Seoul and Gyeonggi region, as well as other regions in the modern era. Further to this, they have since become essential research artifacts that help foster the inheritance and spread of iconography. Key words :Daeheungsa Temple in Haenam, Modern era, Buddhist paintings, Buddhist Monk painters of the Seoul and Gyeonggi region, Yun Ung-ryeol, Court Lady Kim, Min Young-jun, Gyeongsundang Eungseok, Iconography