조선 후기 불화 복장 고찰 = A Study on Bokjang(the Enshrinement of Votive Objects) in Late-Joseon Buddhist Paintings

국문 초록 (Abstract)

불화 복장의 정형화 과정을 18세기와 19세기로 구분하여 살펴보았다. 그중에서도 불화 복장 형식의 전초를 마련한 18세기의 변화 양상에 주목하였다. 18세기 불화 喉鈴筒은 형태와 재료, 物目 구성, 安立 형식에 이르기까지 기본적으로 17세기 초에 완성된 불교 조각의 원통형 후령통 형식에 기반을 두고 있다. 그러나 18세기 말 불화의 원통형 후령통은 타원통형을 거쳐 방통형으로 형태가 변화되었으며, 19세기 불화 후령통으로 정형화되었다. 이와 더불어 18세기 말 유입된 法印呪와 准提呪, 圖解와 種子圖가 19세기 초 후령통의 외부 포장 물목으로 완벽하게 정착되었으며, 그 결과 19세기 초 불화만의 독자적인 형식을 완성하였다. 이처럼 불화 복장은 ‘공조·변화·정립’이라는 일련의 과정을 거쳐 불교 조각의 복장과 완벽하게 이원화되었다.
이와 더불어 불화에서만 나타나는 복장과 점안 의식의 특징을 살펴보고자 하였다. 후령통, 腹藏囊, 圓鏡으로 이어지는 안립 형식을 시주질과 연계하여 제시하였으며, 이러한 양상이 실제 복장과 서로 연결되고 있음을 추정하였다. 또한 화기의 “依法點眼”, “點眼”, “神供 點眼”, 그리고 “點筆施主”, “點筆師, 准提師”라는 기록을 통해 불화 봉안을 위한 일정한 점안 의식의 절차가 있었으며, 점안 의식의 여러 절차 중 點筆法을 실제 적용하였음을 확인하였다. 특히 1569년 安心寺 諸眞言集을 필두로 16세기 의식집을 통해 완성된 점필법의 요소들을 도해로 구성하였다. 이를 복장 물목으로 활용하여 복장낭, 또는 액자틀 내부에 안립하고 외부에 점필과 관련한 범자를 기록하였다. 불화는 관념적이면서도 추상적인 요소가 강한 점안의 의식적 측면을 범자의 기록과 도해를 통해 시각화하였을 뿐만 아니라 복장 물목이라는 유형의 산물로 변화시켰다. 이를 통해 복장의 안립과 점안으로 이어지는 의식적 연속성을 보여주고 있다. 불화의 복장이 불교 조각에 비해 의식적 요소를 적극적으로 수용·적용하였으며, 이는 불화 복장만이 지닌 특징이라 할 수 있다.

다국어 초록 (Multilingual Abstract)

This paper examines how the practice of bokjang(the enshrinement of votive objects) in Buddhist paintings became standardized during the eighteenth and nineteenth centuries. In particular, it focuses on developments in the eighteenth century when what came to be the standard bokjang practice for Joseon-era Buddhist paintings was established. The form and materials of huryeongtong(throat-bell containers) and the objects inserted and installation methods for them in eighteenth-century Buddhist paintings were modeled after those of cylindrical huryeongtong enshrined inside Buddhist sculptures from the early seventeenth century. At the end of the eighteenth century, cylindrical huryeongtong for Buddhist paintings began to take on oval forms, eventually evolving into a square version. The square form became the typical shape for huryeongtong among nineteenth-century Buddhist paintings. Moreover, the Dharma-Seal Mantra, the Mantra of Cundi, Buddhist illustrations, and paintings of seed syllables-all innovations introduced at the end of the eighteenth century-came to be used as standard items for wrapping huryeongtong in the early nineteenth century. As a result, a bokjang format distinctive to Korean Buddhist painting became fully developed and institutionalized. In this manner, the bokjang practice diverged completely for Buddhist paintings and sculptures through successive phases of appropriation, transformation, and formalization.
This paper also explores the characteristics of the bokjang practice and jeoman(eye dotting) ceremony as applied to Buddhist paintings. It proposes a connection between the installation format, which involved placing a huryeongtong inside a pouch for votive objects and hanging a round mirror from the pouch, and the inclusion in a painting’s inscription of a list of names of the people who donated the deposited votive objects. This connection is presumed to reflect a formalization of the bokjang practice. In addition, certain procedures of the eye-dotting ceremony for the enshrinement of Buddhist paintings have been identified through specific phrases and terms found in the inscriptions of such paintings, such as “following the dharma in dotting eyes,” “dotting eyes,” “making offerings for dotting eyes,” “a person who made a donation for dotting with a brush,” “a master of dotting with a brush,” and “a master of Cundi.” It has also been confirmed that the brush-dotting method was employed as one of the procedures of the eye-dotting ceremony. Diagrams illustrating elements from the brush-dotting method were produced based on sixteenth-century ritual manuals, including Jejineonjip(Collection of Dharanis and Mantras), which was published in 1569 by Ansimsa Temple. These diagrams were deposited as part of votive objects either inside a pouch or within a frame, and then Sanskrit characters related to brush-dotting were written on the exterior of the pouch or frame. In the bokjang practice for Buddhist paintings, abstract aspects of the eye-dotting ceremony were visually represented through diagrams and Sanskrit characters, thereby transforming them into tangible votive objects and reflecting the ritual continuity between the installation of votive objects and the eye-dotting ceremony. This can be viewed as a distinctive feature of the bokjang practice for Buddhist paintings, which incorporated and applied ritualistic elements more actively than was the case with Buddhist sculptures.