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Prayers for Divine Protection: The Temple God (1885) of Heungcheonsa Temple and the Cult of Guan Yu

이승혜
한국학중앙연구원 (The Academy of Korean Studies)|2020.06|Korea Journal|제60권 제2호|pp. 180-218|DOI 10.25024/kj.2020.60.2.180

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참고문헌

키워드

Guan YuKing Gojongreligious syncretismHeungcheonsa templeKorean Buddhist paintingroyal patronagelate Joseon Buddhismvotive temple
주제분류한국어와문학

초록

Korean Buddhist temples rarely dedicate shrines to tutelary deities or enshrine visual representations of them in worship halls. The Temple God (1885), hung in the main hall of Heungcheonsa temple in today’s Seoul, is a rare example. In this painting, the main deity sits at the center, solemnly facing front. Its iconographical features demonstrate visual affinities with cultic images of Guan Yu, the legendary Chinese marshal who was deified and worshipped as Gwanwang or “King Gwan” in late Joseon Korea. Intriguing visual similarities between this Buddhist deity and Guan Yu have not been examined thoroughly in previous studies of late Joseon Buddhist paintings. The cult of the Chinese god, which enjoyed unparalleled support from the royal court and commoners during King Gojong’s reign, seems to have been a major factor behind this unlikely iconographical borrowing. By closely analyzing the Temple God against the religious and visual culture of the late 19th century, this study sheds new light on the religious syncretism reflected in the painting and implications behind the royal patronage of the Guan Yu cult in a time of political chaos and upheaval.

Abstract

Korean Buddhist temples rarely dedicate shrines to tutelary deities or enshrine visual representations of them in worship halls. The Temple God (1885), hung in the main hall of Heungcheonsa temple in today’s Seoul, is a rare example. In this painting, the main deity sits at the center, solemnly facing front. Its iconographical features demonstrate visual affinities with cultic images of Guan Yu, the legendary Chinese marshal who was deified and worshipped as Gwanwang or “King Gwan” in late Joseon Korea. Intriguing visual similarities between this Buddhist deity and Guan Yu have not been examined thoroughly in previous studies of late Joseon Buddhist paintings. The cult of the Chinese god, which enjoyed unparalleled support from the royal court and commoners during King Gojong’s reign, seems to have been a major factor behind this unlikely iconographical borrowing. By closely analyzing the Temple God against the religious and visual culture of the late 19th century, this study sheds new light on the religious syncretism reflected in the painting and implications behind the royal patronage of the Guan Yu cult in a time of political chaos and upheaval.

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관련 논문AI추천

The Guan Yu Cult and Joseon-Qing Visions of State Legitimacy, 1882-1894Joshua Van Lieu한국학중앙연구원 · The Review of Korean Studies2019 · 제22권 제2호Rewriting the Symbol: Yŏngjo’s Appropriation of Guan Yu Worship in Chosŏn Court Politics이재혁한국학연구원 · Acta Koreana2025 · 제28권 제1호Aspirations for the Pure Land Embodied in a Modern Korean Temple, Anyang’am이승혜한국학연구원 · Acta Koreana2019 · 제22권 제1호Skanda, The Multifaceted God: Skanda in Korean Buddhism and BeyondSujung Kim불교학연구회 · 불교학연구2021 · 제66권 Rethinking the Picture Title: The Issue of Appellations of the GamnodoPAKTAYLOR미술사와 시각문화학회 · 미술사와 시각문화2021 · 제27호The Role of Laity in Rebuilding Buddhist Devotional and Material Culture in the Late Joseon이승혜한국학중앙연구원 · Korea Journal2022 · 제62권 제2호

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