「造成雜物器用有功化主錄」과 불영사의 불교회화 (Monk-Painters and Buddhist Paintings of Bulyeongsa Temple)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 86호 / 75 ~ 110페이지
· 저자명 : 정명희

초록

Bulyeongsa Temple, which is now a branch temple of Bulguksa Temple, was once under the auspices of Woljeongsa Temple in Gangwon-do Province - before the Japanese colonial era.
This paper examines the monk-painters who were active in the areas of Gyeongsangbuk-do Province and characteristics of their Buddhist paintings by studying the Buddhist projects carried out at the Bulyeongsa Temple throughout the seventeenth to the nineteenth centuries.
Chapter II focuses on the details of Buddhist ritual utensils required for daily rites and for the Buddhist projects held by Bulyeongsa Temple in the seventeenth century by investigating Joseong-japmulgiyong-yugong-hwajurok (造成雜物有功化主걧, Records on the donors of miscellaneous votive objects for building Bulyeongsa Temple). This record documents the details, including the dates, of the Buddhist projects, meaning establishment of halls and pagodas, and production of Buddhist paintings, statues and other utensils. It lists the names of monks, who were responsible for collecting donations, and further contains detailed descriptions of “miscellaneous essential items”or japmulgiyong in Korean, such as offertory vessels, vessels placed on altars or tables, and ritual utensils for daily and special rites.
Bulyeongsa Temple was severely damaged during the Japanese invasion of Korea in 1592, Imjin waeran. Joseong-japmulgiyong-yugong-hwajurok records the miscellaneous essential items that the temple was equipped with for restoring its function and their written order indicates their priorities. The items included Buddhist statues and paintings as well as various rituals utensils. It was possible to understand the internal and external facilities of the temple by understanding these items, which also helped comprehend the function of Buddhist paintings.Among them, what is noteworthy is the equipment that was designed for altars. In line with this, Buddhist paintings were produced, including the paintings for the middle and lower altars, and for rituals. In addition to the items for use in the permanent top and middle altars such as ceremonial robes and incense burners, there were also items for lower altars that were custombuilt.
While temples were equipped with most of the “miscellaneous items”by the 1620s, some ritual robes and instruments were added at the time when Buddhist paintings were created for the occasion of erecting Yeongsanjeon Hall and Myeongbujeon Hall.
The next chapter examines the paintings of the local monk-painters and their characteristics in style by studying the Buddhist paintings of the eighteenth and nineteenth centuries in Bulyeongsa Temple. There were not many monk-painters and monk-craftsmen available in Gangwon-do Province, so monk-painters from Gyeongsangbuk-do Province were more engaged in the production than those from Gangwon-do Province. This is evidenced from the records that Daeseungam Hermitage had looked for masters to build Buddhist palanquin and that the extant Nectar Ritual Painting of the 15 Buddhist paintings that were executed under the leadership of Gyerim was painted by Cheolhyeon of Oeosa Temple in Pohang, Yeonghyeon and Takjin of Tongdosa Temple.
The establishment of Daeungjeon Hall in the 1730s was led by a monk-painter who was based in Donghwasa Temple on Palgongsan Mountain. The Sakyamuni Preaching Assembly for Daeungjeon Hall completed in 1735 was based on the draft of the Sakyamuni Preaching Assembly of Beophwasa Temple painted by Kwaemin(快旻). Master monk-painter Goengwon(宏遠) and other monk-painters of Palgongsan Mountain led the production of the former, which was grander in scale than the latter and had new iconographies. The Threematrix Bodhisattvas of 1739 was led by the master monk-painter Milgi of Unbusa Temple and assisted by a monk-painter of Palgongsan Mountain. Milgi(密機) is resemblant to the Palgongsan School in their drafts, which continues Euigyun’s painting style, but they are rather different in style. The Three-Matrix Bodhisattvas in Bulyeongsa Temple reflects the style of monk-painters from the regions of Gyeongsangbuk-do Province such as Cheono of Girimsa Temple in Gyeongju and Noehyeon of Bogyeongsa Temple in Pohang, and Sakyamuni Preaching Assembly shows the influence of the Palgongsan School.By the eighteenth century, the Buddhist projects were extended in scale and monk-artists from different regions often cooperated. Thus, in the letter of prayer and the inscription of paintings were written the names of the temples to which the monk-painters were registered.
While the Buddhist paintings were mainly led by the monk-painters of Palgongsan Mountain in the previous era, in the nineteenth century many monk-painters participated from Sabulsan Mountain. There were also cases where monk-artists Hwasan Jaegeun(華山在根) and Seokong Cheolyu(石翁喆侑) cooperated, and they mainly practiced on Geumgangsan Mountain as well as in the regions of Gyeongsang-do and Gyeonggi-do provinces. Through the examination of the Buddhist paintings of Bulyeonsa Temple, located on the borders between Gyeongsangbukdo and Gangwon-do provinces, it was possible to observe the expansion of monk-painters’ sphere of activity and the changes of participating groups of monk-painters.

영어초록

Bulyeongsa Temple, which is now a branch temple of Bulguksa Temple, was once under the auspices of Woljeongsa Temple in Gangwon-do Province - before the Japanese colonial era.
This paper examines the monk-painters who were active in the areas of Gyeongsangbuk-do Province and characteristics of their Buddhist paintings by studying the Buddhist projects carried out at the Bulyeongsa Temple throughout the seventeenth to the nineteenth centuries.
Chapter II focuses on the details of Buddhist ritual utensils required for daily rites and for the Buddhist projects held by Bulyeongsa Temple in the seventeenth century by investigating Joseong-japmulgiyong-yugong-hwajurok (造成雜物有功化主걧, Records on the donors of miscellaneous votive objects for building Bulyeongsa Temple). This record documents the details, including the dates, of the Buddhist projects, meaning establishment of halls and pagodas, and production of Buddhist paintings, statues and other utensils. It lists the names of monks, who were responsible for collecting donations, and further contains detailed descriptions of “miscellaneous essential items”or japmulgiyong in Korean, such as offertory vessels, vessels placed on altars or tables, and ritual utensils for daily and special rites.
Bulyeongsa Temple was severely damaged during the Japanese invasion of Korea in 1592, Imjin waeran. Joseong-japmulgiyong-yugong-hwajurok records the miscellaneous essential items that the temple was equipped with for restoring its function and their written order indicates their priorities. The items included Buddhist statues and paintings as well as various rituals utensils. It was possible to understand the internal and external facilities of the temple by understanding these items, which also helped comprehend the function of Buddhist paintings.Among them, what is noteworthy is the equipment that was designed for altars. In line with this, Buddhist paintings were produced, including the paintings for the middle and lower altars, and for rituals. In addition to the items for use in the permanent top and middle altars such as ceremonial robes and incense burners, there were also items for lower altars that were custombuilt.
While temples were equipped with most of the “miscellaneous items”by the 1620s, some ritual robes and instruments were added at the time when Buddhist paintings were created for the occasion of erecting Yeongsanjeon Hall and Myeongbujeon Hall.
The next chapter examines the paintings of the local monk-painters and their characteristics in style by studying the Buddhist paintings of the eighteenth and nineteenth centuries in Bulyeongsa Temple. There were not many monk-painters and monk-craftsmen available in Gangwon-do Province, so monk-painters from Gyeongsangbuk-do Province were more engaged in the production than those from Gangwon-do Province. This is evidenced from the records that Daeseungam Hermitage had looked for masters to build Buddhist palanquin and that the extant Nectar Ritual Painting of the 15 Buddhist paintings that were executed under the leadership of Gyerim was painted by Cheolhyeon of Oeosa Temple in Pohang, Yeonghyeon and Takjin of Tongdosa Temple.
The establishment of Daeungjeon Hall in the 1730s was led by a monk-painter who was based in Donghwasa Temple on Palgongsan Mountain. The Sakyamuni Preaching Assembly for Daeungjeon Hall completed in 1735 was based on the draft of the Sakyamuni Preaching Assembly of Beophwasa Temple painted by Kwaemin(快旻). Master monk-painter Goengwon(宏遠) and other monk-painters of Palgongsan Mountain led the production of the former, which was grander in scale than the latter and had new iconographies. The Threematrix Bodhisattvas of 1739 was led by the master monk-painter Milgi of Unbusa Temple and assisted by a monk-painter of Palgongsan Mountain. Milgi(密機) is resemblant to the Palgongsan School in their drafts, which continues Euigyun’s painting style, but they are rather different in style. The Three-Matrix Bodhisattvas in Bulyeongsa Temple reflects the style of monk-painters from the regions of Gyeongsangbuk-do Province such as Cheono of Girimsa Temple in Gyeongju and Noehyeon of Bogyeongsa Temple in Pohang, and Sakyamuni Preaching Assembly shows the influence of the Palgongsan School.By the eighteenth century, the Buddhist projects were extended in scale and monk-artists from different regions often cooperated. Thus, in the letter of prayer and the inscription of paintings were written the names of the temples to which the monk-painters were registered.
While the Buddhist paintings were mainly led by the monk-painters of Palgongsan Mountain in the previous era, in the nineteenth century many monk-painters participated from Sabulsan Mountain. There were also cases where monk-artists Hwasan Jaegeun(華山在根) and Seokong Cheolyu(石翁喆侑) cooperated, and they mainly practiced on Geumgangsan Mountain as well as in the regions of Gyeongsang-do and Gyeonggi-do provinces. Through the examination of the Buddhist paintings of Bulyeonsa Temple, located on the borders between Gyeongsangbukdo and Gangwon-do provinces, it was possible to observe the expansion of monk-painters’ sphere of activity and the changes of participating groups of monk-painters.

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