문정왕후(文定王后) 시기 불화(佛畵)의 특징과 그 위상

Abstract

This paper aims to examine the characteristics and its status of Buddhist paintings originated and sponsored by Queen Munjeong (文定王后). In order to expose the formal and stylistic characteristics of the paintings properly, a comparative study with representative works of that period was done. Through these observations, it could be confirmed that the artist Yi Jasil (李自實) is prominent as a major producer of the representative works. His capacity is known to the world first through the <Thirty-two Nirmāṇakāya of the Avalokiteśvara (觀世音菩薩三十二應幀)> painting which Queen Inseong ordered. And he continues to mainly engaged in the Buddhist paintings commemorating the reconstruction of Hyoam Temple (檜巖寺) publically sponsored by Queen Munjeong. In particular, in this paper introduced <Amitabha Triad (阿彌陀三尊圖)> painting in Saimyouji (西明寺), Kyoto Japan with Yi Jasil sign of himself for the first time in Korea. This work, which is sure to be a work of interest, was compared with other similar works of that time. Through these analyzes, we have examined how the works of Lee Jasil, who had a decisive influence on the form and style of Buddhist painting in the sixteenth century, contributed to the end of Joseon dynasty royal Buddhist painting. Despite the era of suppressing Buddhism, Buddhist painting continues to be produced in the royal court of the Early Joseon period, which was possible by the patronage of the queens. The role of the sponsors of the queens, such as Queen Jeonghui, Queen Jeonghyeon, Queen Inseong and finally Queen Munjeong, was very great in maintaining the tradition. The last work of this royal Buddhist painting of the tradition is the Hyoam Temple