쌍계사 삼장보살도의 도상 특징

Abstract

The original copy of the Samjang Bodhisattva painting of Ssanggyesa Temple in Hadong is currently stored in the Seongbo Museum. In Daeungjeon, a recently painted copy is on the right side. Samjang Bodhisattva painting is also in the same position as it is now in the photo of glass dry plates in the 1900s, and there was Dokseong painting next to it. The three Bodhisattva is a Bodhisattva Cheonjang, Jiji Bodhisattva, and Ksitigarbha. In the picture record of Samjang Bodhisattva painting of Ssanggyesa Temple was drawn in May 1781(the 5th year of King Jeongjo). The artists are Seungyoon, Manhui, Hongwon, and Gisoon. A yotal of 20 people, including Pyeongsam, Hamsik, and Gukyeon, were in charge of Buddhist affairs. Bodhisattva Cheonjang has the shape of a talking hand, and around there are the Hyeobsi Bodhisattva and his family. In front of the Bodhisattva Cheonjang, there is a Hyeobsi Bodhisattva with a halo. The basis for the iconography of the Hyeobsi Bodhisattva with a luminary is ‘Beomeumsanbojip’(1707) . The eight members of the family omit the star in ‘Ilwolcheonja Polar Jinseong’ in ‘Beomeumsanbojip’. The image of ‘10gods’ and ‘group of gods’ was drawn as ‘eight gods’ with auspicious meaning in the late Joseon Dynasty. Jiji Bodhisattva is holding a sutra, and in front of the chair is a Bodhisattva with a halo and a Sinjung(신중, Guardian Deities) in armor. It is different from that in Donghwa Temple Samjang Bodhisattva painting(1728), where the King and Sinjung are mixed in a side poem. In the Ksitigarbha and ten underworld kings paintings, the main character’s co-poet, Domyeongjonja and Mudokguiwang, defined ‘Beomeumsanbojip’ and ‘Suryukmun’ as left and right. The disappearance of the divine body from the circle of the Ksitigarbha and the place of the Myeongbu(Hall of the underword) crowd appears to be the influence of ‘Beomeumsanbojip’. The screen uses Gold particle and complementary colors such as green and red, which are mainly used, so that the screen is light and bright. For the line, a double line such as whith and a line darker than the background was used. The flower dangcho pattern on the kness is as beautiful and sophisticated as the Goryeo Buddhist painting. The Gold particle extraction technique makes the screen look splendid. The painter Seungyun’s style of painting is similar to Bihyeon, Kwaeyun, and Pyeongsam, but in facial expression it is close to Kwaeyun. Seungyun is an area that needs more research.