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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제36호
- 발행연도
- 2019.6
- 수록면
- 133 - 157 (25page)
- DOI
- 10.52799/JAH.2019.06.36.133
이용수
초록· 키워드
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This study is an examination of the characteristics of the hanging Buddhist paintings produced by the painter monk Singyeom (信謙) in the mid-17th century, and of the monastic lineage that supported him. Singyeom is recorded in the 1649 text Injo binjeon dogam uigwe (仁祖殯殿都監儀軌) as a Cheongju-based painter monk, whose extant works include hanging paintings of the Sermon on Vulture Peak at Bosalsa Temple (1649), Ansimsa Temple (1653), Biamsa Temple (1657).
Singyeom’s hanging Sermon on Vulture Peak paintings are similar in form but show differences in terms of omission or reduction in size of Buddha images, and of color balance and contrast. The painting at Ansimsa, which was modelled after that at Bosalsa, includes some early-Joseon bodhisattva-style audience members but omits other members of the Buddha’s retinue, while altering the layout of the retinue and increasing the size of the Buddhas. In terms of the depiction and coloring of the primary and secondary marks of the Buddha’s body (相好), too, the Buddhas in the Bosalsa painting, with rounded marks and balanced bodily proportions, change to acquire features defined by powerful marks and longer bodily proportions in the Ansima painting, while the color contrasts in the Ansimsa painting are stronger than those of the diverse yet harmoniously-combined tones of the Bosalsa painting. I believe the appearance of such changes is due to a change in Singyeom’s assistant painter monk-the most important role after that of Singyeom himself-from Jibyeon to Deokhui.
During Singyeom’s active period, the Byeogam monastic lineage was prominent at major temples in the Hoseo region of Korea. Baekgok Cheoneung, who erected the Byeogam Gyoseongbi Stele at Beopjusa Temple; Jeha Gyeongteuk, who redeveloped Bosalsa and Gongnimsa temples; and Yeongpa Inyeong, who wrote Magoksa Sajeok , were all disciples of the monk Byeogam Gakseong. In particular, the fact that Jeha Gyeongteuk and Baekgok Cheoneung made donations to pay for Singyeom’s hanging Sermon on Vulture Peak paintings at Bosalsa and Ansimsa allows us to infer the relationship of support that had formed between Singyeom and members of the Byeogam lineage throughout the Hoseo region. In addition, Singyeom’s monastic title as recorded on the hanging Sermon on Vulture Peak painting at Biamsa, “Chungcheong-do chongseop gyeom seungjang,” indicates that he was in charge of the groups of monks at Sangdangsanseong Fortress and within Chungcheong Province, and of clerical work at temples. I have examined the background to his attainment of this position in connection with the influence of the Chungcheong camp, which was affiliated with Namhansanseong Fortress, and the Byeogam lineage, which dominated the management of the fortress.
Singyeom’s hanging Sermon on Vulture Peak paintings are similar in form but show differences in terms of omission or reduction in size of Buddha images, and of color balance and contrast. The painting at Ansimsa, which was modelled after that at Bosalsa, includes some early-Joseon bodhisattva-style audience members but omits other members of the Buddha’s retinue, while altering the layout of the retinue and increasing the size of the Buddhas. In terms of the depiction and coloring of the primary and secondary marks of the Buddha’s body (相好), too, the Buddhas in the Bosalsa painting, with rounded marks and balanced bodily proportions, change to acquire features defined by powerful marks and longer bodily proportions in the Ansima painting, while the color contrasts in the Ansimsa painting are stronger than those of the diverse yet harmoniously-combined tones of the Bosalsa painting. I believe the appearance of such changes is due to a change in Singyeom’s assistant painter monk-the most important role after that of Singyeom himself-from Jibyeon to Deokhui.
During Singyeom’s active period, the Byeogam monastic lineage was prominent at major temples in the Hoseo region of Korea. Baekgok Cheoneung, who erected the Byeogam Gyoseongbi Stele at Beopjusa Temple; Jeha Gyeongteuk, who redeveloped Bosalsa and Gongnimsa temples; and Yeongpa Inyeong, who wrote Magoksa Sajeok , were all disciples of the monk Byeogam Gakseong. In particular, the fact that Jeha Gyeongteuk and Baekgok Cheoneung made donations to pay for Singyeom’s hanging Sermon on Vulture Peak paintings at Bosalsa and Ansimsa allows us to infer the relationship of support that had formed between Singyeom and members of the Byeogam lineage throughout the Hoseo region. In addition, Singyeom’s monastic title as recorded on the hanging Sermon on Vulture Peak painting at Biamsa, “Chungcheong-do chongseop gyeom seungjang,” indicates that he was in charge of the groups of monks at Sangdangsanseong Fortress and within Chungcheong Province, and of clerical work at temples. I have examined the background to his attainment of this position in connection with the influence of the Chungcheong camp, which was affiliated with Namhansanseong Fortress, and the Byeogam lineage, which dominated the management of the fortress.
목차
I. 머리말
II. 17세기 湖西지역의 사찰 불사와 승려문중
III. 신겸 조성 영산회괘불도의 특징과 동료 화승
IV. 신겸의 불교계의 위상과 碧巖門中과의 조력
V. 맺음말
참고문헌
Abstract
참고문헌 (35)
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UCI(KEPA) : I410-ECN-0101-2019-609-000666542