영덕 장육사 대웅전 벽화의 도상과 특징

Abstract

As a building of Joseon Dynasty, Daeungjeon Hall at Jangyuksa Temple has jusimpo type gable roof with three bays in the front and three bays on the side, and inside the Hall, it attracts the attention of wall paintings and dancheong drawn on the wall and ceiling as well as Buddha statues and Buddhist paintings. Wall paintings and dancheong which make the interior of the Hall look majestic are usually drawn small because they are painted in the sense to focus attention on Buddha statues or Buddhist paintings as the main object of worship and form a religious atmosphere, but it receives attention since the east and west wall of Daeungjeon Hall at Jangyuksa Temple show unique iconography that is not seen in wall paintings of other temples.
 This paper looked into the layout focusing on wall paintings the inside of Daeungjeon Hall at Jangyuksa Temple and examined the iconographic origin of the iconography that is distinguished from wall paintings of other temples, such as Munsudongja(Child Majusri) on a lion, Bohyeondongja(Child Samantabhadra) on a white elephant, and Bicheon(aprasas) playing a musical instrument, etc. as well as the development process. This iconography was established as solo iconography in earlier period of wall paintings, and it was found that it had an influence on banner Buddhist paintings of Seoul&Gyeonggi area be drawn at the bottom from the end of the 19th century to the early 20th century. However, Arhat paintings and Portraits of Great Masters on Pobyeok wall show characteristics after the 19th century in the iconography, coloration, and detailed expression, so it is believed that they were repainted after a rebuilding.
 Then, based on the records handed down to the temple, the creation period of the wall paintings was examined. Most of the wall paintings the inside of Daeungjeon Hall were created in 1764 during a ceremony of Buddhist paintings, in which leading monk painters Doohoon(斗訓) and Jaeok(再玉) participated, and it can be said that they have great material value as representative works showing the iconography of Gisamunsudongja(Child Majusri on a lion) and Gisangbohyeondongja(Child Samantabhadra on a white elephant) in the mid-18th century.