조선 仁祖-肅宗代 불화의 도상 특징 연구 (A Study on the Characteristics of the Iconography of Buddhist Paintings during the Period of King Injo and Sukjong in the Joseon Dynasty)

서지정보

· 발행기관 : 한국불교미술사학회
· 수록지 정보 : 강좌미술사 / 28호 / 47 ~ 93페이지
· 저자명 : 김창균

초록

조선개국이래세력이크게위축되었던불교의사세회복과아울러미륵불도,삼신불도,오불회도등많은도상들이나타나는인․숙종대(1623~1720)는괘불화와후불화를포함하여인 ․효종대10점, 현․ 숙종대37점등47점정도가알려져온다.그림의구도, 형태, 색채,문양과필선등양식특징에대하여각시기별로살펴본결과두시기간의차이점이발견되었다.그결과인 ․ 숙종대 불교회화는 특히 임란 이전의 자료가 지극히 일부만 남아 있는 시대적 상황하인 만큼, 18 세기중반이후영․정조대불교회화연구에있어거의기준이되고가교역할로서의중요한위치를점유하고있다해도좋을것이다.또한군도형식의여러도상과함께영산회상도와아미타도가출현하여영․정조(1725~1800)이후본격적으로나타나는後佛畵의모본을이루고있음도파악되었다.
특히현재까지알려진掛佛畵들가운데조성시기가가장이른죽림사괘불화(도1, 1622년)는비록 규모 면에서는 크지 않다할지라도, 조선시대 괘불화의 효시를 이루며 좌상 석가모니불의기준이되고있다는데의의가있다고본다.즉,죽림사괘불화가석가모니불을주존으로삼고있는 괘불화나 석가모니불의 후불화 형태라든가 신체 세부모습 및 착의법을 보여주는데 기준을 이룬다는것이다.무량사괘불화(1627년)의경우도연꽃가지를든보살모습의彌勒佛을나타내는최초의도상으로, 비록그림의성격은다르다하더라도 19세기이후까지꾸준히등장하고있는蓮持印菩薩形주존불의기준으로서그가치가인정된다하겠다.
그리고 칠장사 괘불화(1628년) 또한 임란 이전의 일본 십륜사 소장 오존불도로부터 비롯된도상의영향을보여주는작품으로, 三身佛과 三世佛이복합적성격을띠며나타나는그림의기준작이되고있음을알수있다.이와더불어說法印菩薩形으로서노사나불의전형을보이는신원사․ 수덕사괘불화,그리고독존도형식으로서의동일한양식특징을보이는연지인보살형과불형괘불화와오른손에연꽃을든拈花佛형식의그림,다존형식의오존․칠존․구존도괘불화등은 인 ․ 숙종대에 전형을 갖추는 형식들로 후대 불화의 형식에 지대한 영향을 미쳤다 할 것이다. 또한 색채에 있어인 ․ 효종대는 전통적인 淡彩技法의 부드러운 중간 색조인 赤色과 綠色이주조를이루고, 현․ 숙종대는앞시기의적․ 녹색색조에하늘색등청색계열과옥색및분홍색과 같은 색채를 많이 사용함으로써 보다 화려해지는 경향을 엿볼 수 있었다.
후불화에 있어서도 전형적인 키 형 또는 주형 광배를 주로 하는 군도 형식의 영산회상도 및 아미타도가출현하여영․ 정조대이후본격적으로나타나는후불화의모본을이루며영향을미치고있음을알수있다.즉,인․숙종대불화는영․정조대까지형식적인면은물론인물형태및신체 표현, 구성, 색채, 문양과 필선 등의 양식적인 면까지 계승되어지고있음을 종합적으로 파악하였다는데 본 연구의 의의가 있다 하겠다.

영어초록

With the recovery of the influence of Buddhism, which had been greatly shrunk since the foundation of the Joseon Dynasty, many images including the paintings of Maitreya(彌勒佛), Trikaya(三身佛, Nimanakaya, Sambhogakaya, Dharmakaya) and Five Buddhas(五佛, Vairocana, Rocana, Sakyamuni, Bhaisajyaguru and Amitabha) were created during the age of King Injo and Sukjong (1623‐1720), and some 10 pieces from the period of King Injo and Hyojong and 37 from the period of King Hyeonjong and Sukjong, so a total of 47 works including banner paintings and platform paintings have been handed down from the age.
This study compared the characteristics of painting iconography such as composition and form, color, pattern and drawing line between the two periods, and found differences as follows. As only a few materials created before the Japanese invasion in 1592 have survived, Buddhist paintings during the period of King Injo and Sukjong are used as the base of research on Buddhist paintings from the mid 18th century to King Yeongjo and Jeongjo, and play the crucial role of a bridge. In addition, along with many images in the form of assembly painting, the images of Shakyamuni and Amitabha began to appear and became the models of platform paintings that were created a lot since King Yeongjo and Jeongjo (1725‐1800).
In particular, the banner painting in the Jukrim‐sa Temple (Figure 1, 1622), the oldest among banner paintings known today, is meaningful, though small in size, in that it was the beginning of banner paintings in the Joseon Dynasty and the model of the seated image of Shakyamuni. That is, the banner painting in the Jukrim‐sa Temple set the standards of the detailed shapes of the body and the robe for banner paintings with Shakyamuni as the main figure or platform paintings of Shakyamuni. The banner painting in the Muryang‐sa Temple (Figure 2, 1627) is also the first image of Maitreya holding a lotus branch. Although its nature is different, the painting is valued as the model for the image of Bodhisattva with a hand holding a lotus that appeared steadily since the 19th century.
In addition, the banner painting in the Chiljang‐sa Temple (Figure 9, 1628) displays the influence of images originating from the image of Five Buddhas, which was created before the Japanese invasion in 1592 and is kept in the Jyurinji Temple in Japan, and became the model for the paintings of Trikaya and Buddhas of the Three Worlds. Along with it, the banner paintings of Bodhisattva with a preaching hand in the Sinwon‐sa Temple and the Sudeok‐sa Temple, which are the models of Rocana Buddha, the banner paintings of Bodhisattva with a hand holding a lotus and Buddha in the form of a single figure, the paintings of Buddha holding a lotus flower in the right hand, the banner paintings of five, seven and nine Buddhas, etc. are all forms settled during the period of King Injo and Sukjong and had significant effects on the form of Buddhist paintings afterwards. As to color, paintings in the period of King Injo and Hyojong used mainly red and green, which are soft moderate tone colors in the traditional light‐coloring technique, and those in the period of King Hyeonjong and Sukjong used red and green as in the previous period as well as skyblue, light‐blue and pink, showing the trend of getting colorful.
In platform paintings as well, the images of Shakyamuni and Amitabha in the form of assembly painting, which are of typical fan shape or pillar shape, emerged and became the models of platform paintings created a lot since the period of King Yeongjo and Jeongjo. In conclusion, the present study is considered meaningful in that it found that Buddhist paintings in the period of King Injo and Sukjong inherited those in the period of King Yeongjo and Jeongjo not only in form but also in style including the shape of figure, the expression of body, composition, color, pattern and drawing line.

참고자료

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