日本 四國地域 朝鮮朝 前期 佛畵 調査 硏究 (A Study on the Buddhist Paintings of the first half of the Joseon Dynasty in Shikoku Area of Japan)

서지정보

· 발행기관 : 동악미술사학회
· 수록지 정보 : 동악미술사학 / 9호 / 57 ~ 89페이지
· 저자명 : 정우택

초록

조선조 전기 불화는 불화연구의 필수적 자료임에도 불구하고 국내에는 거의 없으나 四國地域에는 22
점이 전하고 있다. 四國地域불화는 여래, 지장보살도가 중심이며, 화풍상 寶珠寺의〈아미타팔대보살도〉
처럼 傳統을 계승한 경우도 있으나 長壽院의〈석가설법도〉처럼 조선조 고유의 독자성을 지닌 불화가 대
부분이다. 이러한 새로운 양식의 불화들은 17, 8세기로 계승되어 조선조 후기 도상의 범본이 되었다.
四國地域불화는 發願者계층에 따라 작품의 화질은 물론 재료까지도 다르다는 점을 명확하게 인식시
켜준다. 즉, 왕실관련 인물에 의하여 발원된 來迎寺〈아미타정토도〉는 바탕이 비단이고 묘선에 금을 사
용하며 존상의 형상이 균형적이다. 이에 비하여 민간발원인 持福寺의〈지장시왕도〉는 바탕이 삼베이고
묘선이 황토이며 신체표현에서 긴장감이 결여되었다. 또한 채색은 양자모두 二重彩色法을 사용하고 있
으나 질감 등 완성도에서 차이가 뚜렷하다.
四國地域조선조 전기 불화는 기록을 통하여 볼 때 대부분이 17세기에 일본에 유입되었으며, 수리 또
는 元恩寺〈지장시왕도〉처럼 개채를 통하여 신앙의 대상으로 사용하였음도 추측 할 수 있었다. 또한 이
지역 불화들은 눈 또는 의복의 특징적인 표현을 통하여 볼 때 원래 있던 장소가 전라 및 충청지역 임을
짐작할 수 있었다.
결론적으로 四國地域조선조 전기불화는 도상과 화풍에서 앞과 뒤시기를 연결하여 줄 뿐 만아니라 조
선조 후기 불화의 특성을 밝히는 결정적 단서를 가진 중요한 연구대상임을 다시 일깨워 주었다.

영어초록

Buddhist paintings of the first half of the Joseon Dynasty are essential for the diachronic study of
Joseon Buddhist paintings. Unfortunately only a few are left in Korea but 22 paintings are found in
Shikoku, Japan. These are mostly of Buddha and Ksitigarbha Bodhisattva. Whereas some of them, like
The Painting of Amitabha with Eight Great Bodhisattvas in Hojuji, follow the stylistic tradition of the
preceding periods, most of the others demonstrate the unique features of early Joseon Buddhist
paintings, as shown in The Painting of Sakyamuni’s Sermon in Chojuin. This new style was
succeeded by the later paintings during the 17th and the 18th centuries and became an iconographic
model throughout the late Joseon Dynasty.
The paintings in Shikoku clearly show that their quality, as well as painting materials, can show a
wide variation in accordance with the social status of commissioners. For instance, The painting of
Amitabha’s Pure Land of Raigoji, commissioned by a royalty, was painted on silk. In the work, lines
were drawn in gold and each figure displays perfect proportions. On the other hand, The Painting of
Kistigarbha and the ten-kings of hell in Jihukuji that was ordered by a private person was painted on
hemp lines were pained in yellow earth and it generally lacks rigor and harmony in expression of
figures’bodies. While the two paintings adopted the same double coloring method, they reveal a
noticeable difference in texture and quality.
Many records confirm that most of the first half of the Joseon Buddhist paintings in Shikoku came
to Japan during the 17th century. Some of them seem to have been worshipped by local Buddhists
after a repair or re-coloring, as in the case of the Painting of Kistigarbha and the ten-kings of hell in
Ganojni. In addition, the unique features of eyes and garments of the figures in the paintings reveal
that the paintings in Shikoku may have come from Jeolla and Chungcheong Provinces.
In conclusion, the first half of the Joseon Buddhist paintings in Shikoku take up an important
position in study of Joseon Buddhist paintings as they hold important keys to identifying the unique
characteristics of the later paintings and bridge an iconographical and stylistic gap between the early
and the later periods.

참고자료

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