해인사 영산회상도(1729년)의 연구

Abstract

The Haein‐sa Temple is the head temple of Hwaeom founded in 802, and in its Daejeokgwangjeon Hall was Yeongsanhoisang‐do created in 1729, which is currently in the Seongbo Museum at the Haein‐sa Temple. There is no record on the original place where the Yeongsanhoisang‐do was enshrined, and its history is hardly traceable because all the temple buildings except Janggyeonggak were destroyed one by one through seven fires from 1695 to 1871. In the late Chosun Dynasty, the fortune‐seeking nature of Beophwagyeong and its tolerance for other Buddhist sects met social demands in those days, and as a result, Beophwa belief spread widely and a large number of Yeongsanhoisang‐dos illustrating Beophwagyeong were created. Created with this background, <Yeongsanhoisang‐do of the Haein‐sa Temple> survived the chaos of wars such as the Japanese invasion in 1592 and Qing’s invasion in 1637, went through the socially and politically stable period under King Injo and Sukjong (1623~1724), and opened the age of Renaissance with social and political stability under King Yeongjo and Jeongjo (1725~1800). Considering its painter, composition, and expression techniques, we can say that the painting is a representative one among Yeongsanhoisang‐dos created in those days, and this study was conducted through the following procedure. According to the results of this study, <Yeongsanhoisang‐do of the Haein‐sa Temple> shows the style of the Koryo Dynasty and the Chosun Dynasty compositely, so provides clues to various styles and historical influences observed in Buddhist paintings. In addition, the analysis of the painting record shows that the work was created by monks’ lavish donations. In addition, official position names such as ‘Tongjeong’ and ‘Gaseon’ in front of the monks’ Buddhist names are related to the issue of 해인사 영산회상도의 연구 / 장미애 • 177 Gongmyeongcheop, which was popular in those days, suggesting that monks owned private properties. The possession of private properties became a driving force for inducing monks’ gye (joint fundraising) activities, and this hints at the background of Buddhist projects promoted by temples in the late Chosun Dynasty. In addition, it was found from the painting record that monk painter Euigyeom was called ‘Hoseon (Wizard of Brush)’ when the painting was created. This shows that Priest Euigyeom’s painting technique reached its peak and was so superb as to be comparable with a wizard. This title is believed to have been given to him because <Yeongsanhoisang‐do of the Haein‐sa Temple> was superior in the sense of color, gorgeous pattern, and fine stroke to other Buddhist paintings that Priest Euigyeom had created before, and explains Euigyeom’s status as a painter.