• Journal of Korean Medical classics
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• v.24 no.3
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• pp.65-70
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• 2011

문헌(文獻)에 기재된 내용을 근거로 병맥주병(病脉主病)을 단맥(單脈)과 상겸맥(相兼脈)을 구분하는 입장에서 연구하는 것이 단맥(單脈), 상겸맥(相兼脈)이 혼재하는 맥진학(脈診學) 분야에서 병맥주병(病脈主病) 연구에 도움이 된다고 생각되어, 먼저 부맥주병(浮脈主病)을 중심으로 단맥주병(單脈主病)과 상겸맥주병(相兼脈主病) 연구에 임하게 되었다. 부맥(浮脈) 병맥주병(病脉主病)을 단맥(單脈)과 상겸맥(相兼脈)으로 구분하여 조사한 결과, 다음과 같은 지견을 얻을 수 있었다. 맥진(脈診) 제가(諸家)는 이론적인 입장보다는 임상적인 자료에 근거한 실용적(實用的)인 입장(立場)으로서, 좌우수(左右手) 촌관척(寸關尺)의 부맥(浮脈)의 단맥주병(單脈主病)은 외감(外感) 호흡기(呼吸器) 증상(症狀)으로, 촌관척(寸關尺) 6부위별(部位別) 단독 부맥(浮脈) 단맥주병(單脈主病)은 촌관척(寸關尺)의 장상론적(藏象論的)인 증상(症狀)으로 관찰하였으며, 오장(五臟) 육부(六腑) 촌관척(寸關尺) 배속(配屬)의 입장에서는 대장(大腸)과 방광(膀胱)을 척부(尺部)에서 진맥(診脈)하는 실용적인 입장을 보였다. 제가(諸家)들은 부맥(浮脈) 상겸맥(相兼脈) 주병(主病)에서 대(大), 홍(洪), 완(緩), 긴(緊), 삽(澁), 삭(數), 지(遲), 허맥(虛脈)을 높은 빈도(頻度)의 상겸맥(相兼脈)으로 취급하고 있으며, 장(長), 활(滑), 세(細), 질(疾), 단(短), 芤, 미(微), 유(濡), 현(弦), 산맥(散脈)을 낮은 빈도(頻度)의 상겸맥(相兼脈)으로 다루고 있다. 또한 기본(基本) 단일(單一) 맥상(脈象)으로는 대(大), 삽(澁), 삭(數), 지(遲), 허(虛), 장(長), 활(滑), 세(細), 질(疾), 단(短), 현(弦), 산맥(散脈)이, 두개 이상(以上)의 맥(脈)이 결합(結合)된 합병맥상(合幷脈象)으로는 홍(洪), 완(緩), 긴(緊), 규(芤), 미(微), 유맥(濡脈)이 부맥(浮脈) 상겸맥(相兼脈)으로 주로 다루어지고 있다. 부대(浮大), 부장(浮長), 부완(浮緩), 부세(浮細), 부긴(浮緊), 부단(浮短), 부삭(浮數), 부허(浮虛), 부미(浮微), 부현(浮弦)의 상겸맥(相兼脈)은 맥위상(脈位上)으로 부맥(浮脈)의 속성(屬性)을 합리적으로 인정(認定)하는 상겸맥(相兼脈)으로 판단되나, 홍맥(洪脈), 허맥(虛脈), 규맥(芤脈), 유맥(濡脈)과의 부맥(浮脈) 상겸맥(相兼脈)은 이미 갖추고 있는 부맥(浮脈) 속성(屬性)에 또 다시 부맥(浮脈)과 상겸(相兼)하는 중복성(重複性)의 문제가 있으므로, 앞으로 부맥(浮脈)의 단맥(單脈)과 상겸맥(相兼脈) 주병(主病)에서 보다 깊은 연구가 있어야 할 것으로 생각한다.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.