용주사 후불탱과 조선후기 궁중회화 - 대웅보전 <삼세여래체탱>의 작가와 시기, 양식 해석의 재검토

Abstract

The study analyzed components of <Samseyeoraechetaeng(三世如來體幀)> of The Hall of Sakyamuni(大雄寶殿) in Yongjusa Temple(龍珠寺) through scientific actual survey as the potable x-ray fluorescence sequential spectrometeran and the infrared imaging system. As the results of infrared photographing conditions of its written prayer and basic drawing, the study could know accurately that it was the original work pictured in 1790, neither pictured again at the beginning of the 20th century nor colored again as the Western style of drawing at the beginning of the 20th century. The picture was started from February 19, 1790. However, the picture started pictured earnestly at The Hall of Sakyamuni from August 16, 1790 when The Hall of Sakyamuni was established and was completed on September 30, considering its size and its special back-painting technique. When the study considered various characteristics of its image, its strokes of the brush and its colors, the picture regarded drawing of monk-painter Sangyeom(尙謙) as its basic frame and made its basic composition and image by synthesizing images of various monk-painters and pictorial senses of court painters. When the study compared features of the finished painting with first basic drawing by photographing with infrared rays, monk-painters as Sanggyeom were responsible for basic drawing and court painters were responsible for coloring. Especially, the best portrait painter Lee Myeong-gi(李命基) colored the faces, hands and feet of Buddha and Bodhisattva, Ananda, Kassapa and Kim Hong-do(金弘道) colored clothes of Buddha and Bodhisattva, and painted Virupaksa and Virudhaka. Kim Deuk-sin(金得臣) painted less important characters behind the main image of Buddha for the most part. Monk-painters colored formalized and ceremonial parts as crowns, things with Buddha statue in hand and patterns for the most part. When the study considered that the style of western painting was used strongly in the whole aspect as applying strong shading to its face and white highlight to its creases, the pictorial innovation of <Samseyeoraechetaeng> that the great king Jeongjo(正祖) and court painters including Kim Hong-do and Lee Myeong-gi attempted in 1790 was a very pioneering and memorial performance preceding more than about 100 years.