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김다영(Dayoung Kim) 동국대학교 박물관 2024 佛敎美術 Vol.35 No.-
This article examines the Buddhist painting composition and characteristics of the Buddhist Painting of the Vulture Peak Assembly of Yongyeon-sa Temple housed at Dongguk University Museum, and the characteristics of Buddhist painting in the Gyeongsang-do region in the 18th century, focusing on the activities and inf luence of head monk painter (首畫僧) Jeongchong (定聰). By the late Joseon Dynasty, the group production system in which several monk painters formed a group centered around a head monk painter to create Buddhist paintings became common. In the 18th century, many cases were discovered where monk painters were active in a school (流派) centered around a certain region, and representative examples include the Uigyeom school centered on Uigyeom (義謙) in the Honam region, and the Imhan school centered on Imhan (任閑) in the Yeongnam region. The Buddhist Painting of the Vulture Peak Assembly of Yongyeon-sa Temple is a work that shows the characteristics of Buddhist painting in the Gyeongsang-do region in the 18th century, and is a Buddhist painting created in 1777 by 11 monk painters, including Jeongchong. The Buddhist Painting of the Vulture Peak Assembly of Yongyeon-sa Temple is a buddhist painting with an assembly-painting type of Preaching and a strictly symmetrical composition with the Shakyamuni Buddha drawn large and his dependents arranged diagonally which stands out with green, red, and dark blue colors and patterns such as the f lower pattern of body light (身光). In previous studies, the influence of Imhan has already been noted, and in particular, it is similar to the Buddhist Painting of the Vulture Peak Assembly at Tongdo-sa Temple created by Imhan in various aspects such as composition, arrangement, and style. When looking at the life and activities of Jeongchong known to date, he was active around Tongdo-sa temple, where Imhan was active, and considering that he created Buddhist paintings with monk painters who collaborated with Imhan on many works, it is presumed that he acquired and learned Buddhist painting within Imhan’s influence. A representative example of this influence is the composition and arrangement of the Buddhist Painting of the Vulture Peak Assembly of Yongyeon-sa Temple, and Jeongchong added his own painting style to it, revealing his skills in full bloom in his Buddhist painting. Although there are no records for Imhan and Jeongchong work together, through the Buddhist Painting of the Vulture Peak Assembly of Yongyeon-sa Temple, it is possible to infer that an influence relationship exists between the two monk painters. There are not many works by Jeongchong in existence, so if more information is discovered about Jeongchong's life and works in the future, it is thought that in-depth research on the relationship of influence between Imhan and Jeongchong can be conducted.
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김정희 ( Kim Junghee ) 한국불교미술사학회 2018 강좌미술사 Vol.50 No.-
Located in Cheongdo, Geyongsangbuk-do, Unmunsa-temple has a collection of various Buddhist artifacts that show a long history. The Buddhist paintings existing in Unmunsa-temple are mostly after the reconstruction in the middle of the 17th century. Avalokitesvara and Bodhidharma mural painting behind the Buddha is one of the Buddhist paintings created during the reconstruction of Great Hall twice in 1655 and in 1773, and this painting shows the appearance of Unmunsa-temple, which was founded as Unmunjong temple and consistently followed Zen lineage. Great Hall's Trikaya Buddha painting and Three Bodhisattva painting were produced in 1755 by monk painter Imhan and his disciples, and Trikaya Buddha painting shows the form of Tirkaya painting which is the oldest with the existing behind Buddha paintings. Three Bodhisattva paintings are notable in that they were painted in an independent scroll with the three Bodhisattvas paintings of Cheongjang-Bodhisattva, Jiji-Bodhisattva and Ksitigarbha. In the 19th century, Manilyeombulhoe(Assembly of recitation of Buddha's name for Ten-thousand days) was held by priest Unak Duan, and Buddhist paintings that were enshrined to Yeombuldang(Hall for recitation of Buddha's name) were mainly produced. Among them, Divine Guardians painting of Great Hall, and Avalokitesvara painting of Hall of Avalokitesvaran, Amitabha painting in 1861 transmits the vividness of Manil yeombulhoe which was performed in Unmunsa-temple. In addition, at this time, production of portraits of a priest was intensified and 11 paintings still remain. This study examined the reconstruction of Great Hall of Unmunsa-temple in the 17th and 18th centuries and the Buddhist paintings drawn due to Yeombulhoe in 1861 and the reconstruction and Buddhist paintings of Unmunsa-temple in the late Joseon, and Buddhist paintings in the temple are mostly composed in the construction and rebuilding of the temple, or in the memory of a special Buddhist event or Buddhist memorial service, etc.
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