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김정희 ( Kim Junghee ) 한국불교미술사학회(한국미술사연구소) 2018 강좌미술사 Vol.50 No.-
경상북도 청도에 위치한 운문사는 기나긴 역사를 보여주듯 다양한 불교유물들을 소장하고 있다. 운문사의 창건은 삼국시대 혹은 고려 초까지 거슬러 올라가며, 한때는 전국 ‘제 2 의 선찰’로 불리울 만큼 사세가 확장되었지만, 1653 년의 대화재로 인해 석조유물과 일부 금동유물을 제외하고는 모두 소실되었다. 이에 따라, 운문사에 현존하는 불화 역시 17 세기 중창 이후의 것들이 대부분이다. 1655 년과 1773 년 두 차례에 걸쳐 이루어진 대웅보전 중창 때 조성된 불화로는 후불벽 뒷면에 그려진 관음보살ㆍ달마대사도가 대표적으로, 이 벽화는 雲門宗 사찰로 창건되어 꾸준하게 禪脈을 이어 온 운문사의 모습을 잘 보여준다. 대웅보전의 비로자나삼신불도와 삼장보살도는 1755 년에 통도사의 화승 任閑과 그 제자들에 의해 제작되었는데, 비로자나삼신불도는 현존하는 후불화로는 가장 시기가 올라가는 삼신불도의 형식을 보여주며, 삼장보살도는 천장보살과 지지보살, 지장보살 등 세 보살의 회상을 한 폭에 각각 독립적으로 그렸다는 점에서 주목된다. 아울러 운문사에서는 수륙재 중단탱인 삼장보살도와 함께 일찍이 수륙재관련 서적이 간행되었으며 의식 때 사용하던 佛輦이 남아있어, 당시 사찰에서 행해졌던 水陸齋의 모습을 잘 전해준다. 19 세기에는 운악 두안에 의해 萬日念佛會가 개최되면서 염불당 등에 봉안하는 불화들이 주로 제작되었다. 그중 대웅보전의 신중도와 관음전의 관음보살도, 아미타불도는 운문사에서 거행되었던 만일염불회의 모습을 생생하게 전해준다. 또한 이 시기에는 진영의 제작이 성행하여 현재 11 점의 진영이 남아있는데, 원광법사진영과 보양국사진영, 원응학일진영에는 각각 제 1 조, 제 2 조, 제 3 조 등의 명칭이 적혀있어 운문사 문중의 계보를 확립하고자 했던 모습을 엿볼 수 있다. 본고는 17~18 세기에 이루어진 운문사 대웅보전 중수 및 1861 년 염불회와 관련하여 조성된 불화를 중심으로 조선 후기 운문사의 중창불사와 불화에 관해 고찰한 것으로, 불화가 단순하게 전각에 봉안하여 예배하는 신앙의 대상이 아니라 한 사찰의 위상을 보여주고 문중의 결속력을 다지는데 큰 역할을 한다는 것을 운문사의 불화를 통해 밝히고자 하였다. 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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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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