Buddhist Paintings Research Articles

Significance and Idiosyncrasies of the Buddhist Paintings at Cheongnyeon-sa Temple in Yangju

Significance and Idiosyncrasies of the Buddhist Paintings at Cheongnyeon-sa Temple in Yangju

True Identity

In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.

조선 후기 운문사의 불사와 불화

조선 후기 운문사의 불사와 불화

조선 후반기 의균작 불화의 파형와문 연구

조선 후반기 의균작 불화의 파형와문 연구

Fantasy in Korean Buddhist Painting: Images of Preta in Amrita Paintings

Fantasy in Korean Buddhist Painting: Images of Preta in Amrita Paintings

일본 근대기 불교 회화의 특징과 한국 회화에 미친 영향

일본 근대기 불교 회화의 특징과 한국 회화에 미친 영향

A Buddhist Painting from an Unknown Monastery in Eighteenth-Century Chosŏn

A Buddhist Painting from an Unknown Monastery in Eighteenth-Century Chosŏn

Efficacious Underworld: The Evolution of Ten Kings Paintings in Medieval China and Korea by Cheeyun Lilian Kwon

Reviewed by: Efficacious Underworld: The Evolution of Ten Kings Paintings in Medieval China and Korea by Cheeyun Lilian Kwon Beatrix Mecsi (bio) Cheeyun Lilian Kwon. Efficacious Underworld: The Evolution of Ten Kings Paintings in Medieval China and Korea. Honolulu: University of Hawai'i Press, 2019. viii, 210 pp. Hardcover $72.00, isbn-13: 978-0-8248-5602-1. What happens to the deceased after death? This question still inspires fear and raises several questions for us living in the twenty-first century; therefore, it can be an interesting venture to look into the visual and textural traditions of East Asia and read about how they have imagined and constructed ideas about the netherworld. The book gives a very thorough overview of the earliest developments of the tradition of the doctrine of the Ten Kings in the Buddhist Purgatory who were believed to judge the deceased souls according to their deeds and merits and decide their destiny after rebirth, a doctrine that originated and amalgamated from South and Central Asian and Chinese beliefs forming in ninth century China and spread to the neighboring countries. Efficacious Underworld: The Evolution of Ten Kings Paintings in Medieval China and Korea by Cheeyun Lilian Kwon is an exemplary study in the field of art history that introduces the tradition and shows the formation of the iconography of the Ten Kings in China and Korea. Choosing the Ten Kings representations now housed in Tokyo, Japan at the Seikadō Bunko Art Museum as a case study and starting point of her research, Cheeyun Lilian Kwon brings us closer to a so far unidentified painting set, and she places it within a well-deserved position in East Asian art history and religious history, filling in a gap in our understanding of the tradition. [End Page 48] But this book is far more than a case study and a mere identification of a painting set: it is a study that reveals, through meticulous research, the regional differences highlighting the importance of the socio-religious milieu in which such works were produced and sheds light on the splendid images that might have been lost during the turmoil of history. The aim of the research was to show the possible provenance, origins, iconographic and stylistic origins, art historical implications, and historical and ritual contexts of the Seikadō Ten Kings paintings and to situate it within the existing Ten Kings painting tradition using the method of investigating relevant textual, scriptural, archaeological, and visual materials. The research was based on more than 500 extant examples of the Ten Kings representations from East Asia from the tenth to the fourteenth centuries and the textual traditions including sūtra texts1 as well as reports by a contemporaneous Chinese emissary to Korea2 and traveling monks to China.3 In prior decades, research on medieval Korean art gained a revitalized impetus, not only because of the growing awareness of Korean identity, but also because the unprecedented quality of Buddhist artworks produced during the time of the Koryŏ period (918–1392). The identification of such artworks as being made in Koryŏ signifies a great step towards our understanding of patronage and the development of unique iconographies and representational modes. So far only about 150–160 Koryŏ Buddhist paintings survived into the present due to the turmoil of history,4 and by studying those objects and the related textual sources we can get better knowledge of how these objects were used in a period when Buddhism was a royal religion in Korea. At this time in China, Confucianism became more apparent during the Song Dynasty period in the eleventh century, but in Korea at this time pompous Buddhist state rituals were held, commissioning religious scripts and objects, and building related architectural structures. The Ten Kings painting set in the Seikadō collection is not only unique in the sense that the author could prove its provenance as being made in the mid-Koryŏ period. This in itself could also be an important discovery. However, the painting set reveals other important information about the development of the iconography and sheds light on a possibly lost Chinese tradition from where this Korean development might have rooted. References to Northern Song...

불화 畵記의 畵題 및 명칭 검토

The inscriptions(hwagi, 畵記) of Buddhist paintings contain a variety of important information about the paintings. This article focuses particularly on the appended subject(hwaje, 畵題) and names of Buddhist paintings. The names of Buddhist paintings that appear in the hwa-gi are largely divided into three types: First, there are thematic names that include the names of praying Buddhist statues or indicate the key scenes of paintings, such as “yeongsanhoe(靈山會),” “mitahoe(彌陀會),” “jijang(地藏),” “sinjung(神衆),” “chilseong(七星),” and “gamro(甘露).” Second, Buddha and bodhisattva paintings were named “hubultaeng(後佛幀)” stressing that the paintings were to be hung on the walls behind the statutes. Lastly, the names like “sangdantaeng(上壇幀),” “jungdantaeng(中壇幀),” and “hadantaeng(下壇幀)” emphasize the hierarchy of Buddhist rituals. Sometimes, names combining the second and third types were used. Characteristically, these names are strongly connotative and symbolic of their paintings.BR Furthermore, this study examines two examples of Buddhist painting names in the hwa-gi that are not appropriate for the content of the paintings. First, in the case of a painting commonly referred to as “gamro-taeng(甘露幀),” as a Buddhist painting related to the Soul being Carried to Sukhāvatī (靈駕薦度), a more appropriate name would be “gamro-hoe(甘露會),” which contains the key word “gamro” and shows the scene of a ritual taking place in the overall picture. Next, in the case of “chilseongtaeng(七星幀),” since the main Buddha of the painting is clearly Tejaprabha Buddha(熾盛光如來), an appropriate academic name for the painting whould be “Tejaprabha Buddha.” This study is intended to offer an opportunity to reconsider the currently used names of Buddhist paintings and re-examine the criteria by which Buddhist paintings can be uniformly named.

근현대 畵僧 일섭 佛畵의 신도상과 표현기법 - 송광사성보박물관 소장 [제존집회도]와 [치성광여래도]를 중심으로 -

근현대 畵僧 일섭 佛畵의 신도상과 표현기법 - 송광사성보박물관 소장 [제존집회도]와 [치성광여래도]를 중심으로 -

Diagnosis of Coloration Status and Scientific Analysis for Pigments to Used Large Buddhist Painting(Gwaebultaeng) in Tongdosa Temple

초 록 본 연구는 양산 통도사 괘불탱의 손상 및 채색 상태 ìœ í˜•ì— 대한 자료를 í™•ë³´í•˜ê³ , 비파괴 방법과 박락된 시편의 교차분석을 통한 채색 안료의 ì¢ ë¥˜ë¥¼ ë°í˜€ë‚´ê³ ìž 하였다. 괘불탱의 손상 ìœ í˜•ì„ 확인한 ê²°ê³¼, 꺾임과 ì ‘íž˜, 들뜸, 결실, 박락 등이 관찰되었다. 채색 안료 분석 ê²°ê³¼, ì ìƒ‰ 계열의 안료는 연단과 진사, ìœ ê¸° 안료가 ì‚¬ìš©ë˜ì—ˆê³ , ë ¹ìƒ‰ 안료는 공작석과 염화동(ë ¹ì—¼ë™ê´‘)을 사용하였으며, 청색 안료는 석청과 êµ°ì²­, 백색 안료는 연백과 활석을 혼합하여 사용하였 다. 또한, 황색 안료는 연백과 ìœ ê¸° 안료를 혼합하여 사용하거나 연백 위에 ìœ ê¸° 안료를 ë§ì¹ í•˜ì˜€ìœ¼ë©°, 흑색 안료는 먹을 사용 했을 것으로 ì¶”ì •ëœë‹¤. 박락된 시료를 수습하여 안료의 ìž ìžìƒíƒœ 분석을 통해 ë ¹ìƒ‰ì•ˆë£Œì˜ ê²°ì •í˜•ì„ 쉽게 êµ¬ë¶„í• ìˆ˜ 있었으며, 진한청색과 연한청색도 마찬가지로 ìž ìžì˜ 크기나 형태가 원료의 상이함에 따라 서로 다름을 확인하였다. 또한, 황색과 자색은 ìž ìžê°ì´ 없는 ìœ ê¸°ì•ˆë£Œë¥¼ 사용하였으며, 특이하게 어두운 ì ìƒ‰ì€ 주황색과 먹을 혼합하여 사용한 것으로 확인되었다. 중심어: 통도사, 괘불, 비파괴 분석, 무기안료, ìœ ê¸°ì•ˆë£Œ

조선 말기 흥천사와 왕실 발원 불화

조선 말기 흥천사와 왕실 발원 불화

서울 안양암(安養庵) 금륜전(金輪殿) 치성광 여래(熾盛光如來) 조상과 불화 연구

1889년에 창건된 서울 종로 창신동 안양암의 연혁은 급변하는 근대기 불교계의 변화와 행보를 같이 한다. 도성에서 승려들의 신앙 활동이 금지되었던 19세기말, 서울에서 불교에 의탁하여 사회적 정체성을 찾고자 하였던 武任집단들의 儒佛道 삼교융합적 불교사상이 안양암 창건의 사상적 배경이 되고 있었다.BR 안양암 치성광여래와 칠원성군 조상들은 도교 성수신앙과 강한 친연성을 나타내었던 근대기 서울의 치성광여래 신앙의 다양한 특징을 가지고 있다. 안양암 금륜전의 칠원성군 소상들은 서울의 사찰에서 칠성의례가 도교 성수초례로 이해되고 있는 신앙의 지역적 특징을 반영하는 유물이다. 사료를 통해서만 검증되었던 성신조상을 실증하는 작품이라는 사실과 더불어 소격서에서 성신을 조상으로 만들어 모셨던 전통을 확인할 수 있다는 점에서 안양암 칠원성군소상들의 가치는 크다.BR 관우가 모셔져 있는 동묘와 지척의 거리에 위치한 안양암 금륜전에 소장된 20세기 초반 치성광여래 강림도 2점은 신앙의 변화에 따라 도상이 만들어지는 신앙과 도상의 유기적 관계를 보여준다. 이 그림을 그린 고산 축연은 설법회도라는 시대적 양식을 벗어나 근대기 민중적 호응을 얻었던 관성신앙을 적극적으로 수용하여 강림도 형식으로 그림을 그렸다. 근대기 서울지역에서 삼교융합적 사상을 배경으로 창건되어진 사찰에 녹아든 관성교의 흔적을 실증적인 예로 보이고 있다는 사실에서 안양암 치성광여래 강림도의 가치는 높게 평가될 수 있을 것이다.

Magnificent buddhist murals and Buddhist painting artists’ group in Yeongnam Area during Late Joseon

Magnificent buddhist murals and Buddhist painting artists’ group in Yeongnam Area during Late Joseon

Образ та слово: до питання формування сюжету “Бхавачакра” в традиції буддійського живопису

Образ та слово: до питання формування сюжету “Бхавачакра” в традиції буддійського живопису

Evoking Audience’s Emotion with Disturbing Images: The Aesthetic of Intense Elegance of Makoto Saito in The Two Hasegawa Posters

Among Makoto Saito’s masterpieces, the ‘Pelvis’ and ‘Femur’ posters designed for the Hasegawa Company have been widely acclaimed. Yet, there is inadequate research exploring Saito’s design aesthetic, how these posters were originally conceptualized and what their intellectual and aesthetic influences are. This article addresses these issues, paying special attention to the development of disturbing images with reference to how human bones have featured in Japan throughout its history. It examines how the meaning of human bones has been constructed and evolved since the introduction of the Buddhist painting genre kusôzu in the Kamakura Period (1185–1333). To find out how Saito developed his aesthetic of intense elegance and encoded meanings in these two works, the author conducted an interview with Saito in his Tokyo design office on 18 October 2008.

Study on the varieties and signification of Sketch of Buddhist painting from Late Joseon Dynasty

草本은 미술분야에서 뿐만 아니라 문학분야에서도 결과물을 예상하고 구조를 만들어 내는 첫 과정이다. 草本은 완성된 결과물을 위한 고쳐질 여지가 많은 설계도라 할 수 있는 것이다. 비록 최종적인 재료로 밑그림인 草本이 지워진다 하여도 草本을 만든다는 것은 작업의 시작을 의미하며 완성도 높은 초본은 좋은 결과물을 보장할 수 있는 것이므로 그 중요성은 결과물에 못지않다고 할 수 있다. 그러나 과정보다는 결과물에만 치중한 연구가 많았던 것이 사실이어서 초본에 대한 연구와 전시는 최근에서야 시작되었다. 佛畵의 제작에서도 草本은 기초를 이루는 것은 물론이요, 화맥의 전승과 지역간의 교류의 매개체가 되었기에 그 의미가 다르다. 그러나 불화의 제작주체가 지역의 화승집단이었고 교육방식이 도제식이어서 畵記를 제외하고는 이렇다 할 기록이 없어서 종류와 의미를 규정짓는데 어려움이 있었다. 그래서 같은 시대와 같은 분야의 종사자 간에는 공통된 용어를 사용했을 것이라는 가정하에 사료가 남아있는 御眞草本의 종류와 의미를 살펴보고 그 내용과 기존 연구자들의 연구성과를 바탕으로 草本의 종류를 분류하였다. 이 연구에서는 우선적으로 에서 御眞草本 관련 기사를 검색하여 그 종류와 의미를 나누어 보고 佛畵草本은 크게 ‘구도용 초본’, ‘실제제작용 초본’, ‘보관용 초본’으로 나누고 각각의 용도와 의미를 구분하였다.

금산사 大寂光殿 五如來 圖像의 淵源과 傳統

This paper aims to prove the origin and tradition of the Oyeorae 五 如來(Five-Buddha) combination enshrined in Daejeokkwangjeon Hall Geumsansa Temple, Gimje, North Jeolla Province. Since the Oyeorae 五 如來 in five sculptures and five paintings as one set in Daejeokkwangjeon Hall is an unique example remaining, comparative analysis was only possible by selecting similar examples in existing Buddhist Painting of Joseon Dynasty. Whether this kind of combination of five-Buddha existed beforehand or not? Are there any comparable figurative artworks? Is this phenomenon arose just by simply placing the figures together due to the lack of shrine after the war? Was it the result of the religious demands of the time period? Many questions arise. In the study, I sought to establish a academic foundation for such questions. The first example of multiple combination of Buddha images can be found in the <Obuljondo 五佛尊圖> of the early Joseon Dynasty (15th century estimated) in which I explored how Three-Buddha (三佛: Sakyamuni · Amitābha · Bhaisajyaguru) and Trikaya(三身佛: Dh armakāya · Sambhogakāya ·Nirmān·akāya) achieved formalistic integration. Following this first masterpiece, in Gwaebul paintings of late Joseon period such as <Obulhoedo 五佛會圖>(1628) of Chiljangsa temple of Gyeonggi province and <Yeongsanhoesangdo 靈山會上圖> (1745) of Buseoksa temple of Gyeongbuk province, combination of five-Buddha can be found. And through the unified images of five-Buddha of these examples suggested we could confirm the continuation of the integrated tradition of the Buddhist body. Through the above verification, it can be concluded that the Oyeorae 五如來 in five sculptures and five paintings as one set in Daejeokkwangjeon Hall is such an unique example of the existence and is a truly valuable sample that shows how the convergence tradition was continued and accepted as the majestic figure decorating the main shrine of the temple.

Ghosts in the Mists: The Visual and the Visualized in Chinese Buddhist Art, ca. 1178

Water-Land Retreat, a late twelfth-century Chinese Buddhist painting crafted for use in large-scale offering rituals, depicts the liminal moment of ghosts' manifestation during a nocturnal liturgy of spectral salvation. Taking inspiration from the sensory dimensions of ritual performance and making use of a sophisticated stratigraphy of pigmentation, the painting leads the viewer-worshipper from consideration of external acts of offering and recitation to contemplation of internal visualizations performed solely in the minds of meditating monks. The viewer-worshipper is thus awakened to the multisensory matrix of ritual that unites liturgical art, text, and performance.

Characterization of ancient Korean pigments by surface analytical techniques

The identification of pigments applied in ancient paintings is of great importance for art conservation and history. In this work, pigment samples from the 19th century Korean Buddhist painting (taenghwa) at the Hwangnyongsa temple were analyzed using two analytical techniques: portable X‐ray fluorescence (XRF) and time‐of‐flight secondary ion mass spectrometry (ToF‐SIMS). Portable XRF was used to obtain elemental information about the pigments applied in the Korean guardian Buddhist painting. The XRF results revealed the characteristic elements in the pigments that were commonly used in that period. The qualitative and non‐destructive XRF analyses of pigment layers of the Buddhist painting were compared with results obtained using the micro‐destructive ToF‐SIMS technique. The ToF‐SIMS spectra of the pigments showed characteristic elemental peaks such as Pb+, Cu+, Hg+, Al+, and hydrocarbon ions for the white, green, red, blue, and black areas in the positive ion mode and CO3−, OH−, S−, Cl−, and CnH− in the negative ion mode, respectively. The XRF and ToF‐SIMS results show that the white, green, and red areas in the Buddhist painting were painted with lead white, malachite, atacamite, cinnabar, and mars red as single or mixed pigments. Smalt and carbon were used to depict the blue and black areas in the Buddhist painting, respectively. ToF‐SIMS combined with complementary methods such as portable XRF provides important information about ancient painting materials on a sub‐micrometer scale. Therefore, by combining these complementary techniques, a thorough characterization of each pigment can be obtained, allowing for a proper strategy for the restoration process. Copyright © 2016 John Wiley & Sons, Ltd.