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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The Buddhist order in the late Joseon period was shaped primarily according to monastic clans. Nationwide, there was a clear trend for clans such as the Samyeong, Soyo, Byeogam and Pyeonyang clans to become based in certain temples. These clans gathered primarily at large temples lost or damaged by war in the early 17th century, for the purpose of restoration. From the 18th century, they played a leading role in work performed at large and small temples alike, including repair of buildings and production of Buddhist statues and paintings.
Buddhist statues and paintings, objects of worship at temples, were sometimes preserved in unaltered form, reflecting the particular conservatism found in religion. Sometimes, however, sculptures were produced that featured new iconography and forms in accordance with the ideology and faith of a certain clan. Therefore, the traditional aspects and new tendencies visible in late-Joseon Buddhist statues and paintings can ultimately be seen as resulting from the will of the monastic clans in charge of creating them, and of the artistry of craftsmanmonks.
In this study, I examine the background to the emergence of monastic clans as key players in temple work in late Joseon. Focussing on the Pyeonyang Clan, I then consider the influence of leading monks in the clan on the craftsman-monks among their members, through the examples of Hwanjeok Uicheon and Soyang Singyeong. Next, I examine the process of how Toeun Singyeom grew to become a head painter-monk and leader of his clan, perfecting his own unique formal views against the background of the clan. It cannot be said that all craftsmanmonks active in late Joseon grew and worked based on their clan backgrounds and produced sculptures that ref lected the ideologies of the clans that supported them, like Pyeonyang Clan-affiliated Soyang Singyeom and sculptor monks Daneung and Tangmil in the late-17th century or Toeun Singyeom of the Pyeonyangaffiliated Hwanseong Clan in the late-18th and early-19th centuries. But it is clearly true that monastic clans, a fundamental force in late-Joseon Buddhism, affected certain aspects of the artistic work of craftsman-monks.
Buddhist statues and paintings, objects of worship at temples, were sometimes preserved in unaltered form, reflecting the particular conservatism found in religion. Sometimes, however, sculptures were produced that featured new iconography and forms in accordance with the ideology and faith of a certain clan. Therefore, the traditional aspects and new tendencies visible in late-Joseon Buddhist statues and paintings can ultimately be seen as resulting from the will of the monastic clans in charge of creating them, and of the artistry of craftsmanmonks.
In this study, I examine the background to the emergence of monastic clans as key players in temple work in late Joseon. Focussing on the Pyeonyang Clan, I then consider the influence of leading monks in the clan on the craftsman-monks among their members, through the examples of Hwanjeok Uicheon and Soyang Singyeong. Next, I examine the process of how Toeun Singyeom grew to become a head painter-monk and leader of his clan, perfecting his own unique formal views against the background of the clan. It cannot be said that all craftsmanmonks active in late Joseon grew and worked based on their clan backgrounds and produced sculptures that ref lected the ideologies of the clans that supported them, like Pyeonyang Clan-affiliated Soyang Singyeom and sculptor monks Daneung and Tangmil in the late-17th century or Toeun Singyeom of the Pyeonyangaffiliated Hwanseong Clan in the late-18th and early-19th centuries. But it is clearly true that monastic clans, a fundamental force in late-Joseon Buddhism, affected certain aspects of the artistic work of craftsman-monks.
목차
Ⅰ. 머리말
Ⅱ. 조선후기 승려문중의 발전과 특징
Ⅲ. 편양문중과 승려장인의 조형 활동
Ⅳ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (38)
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UCI(KEPA) : I410-ECN-0101-2018-609-000932101