• KOMUNHWA
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• no.58
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• pp.119-136
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• 2001

This study aims to analyze the sources of restoring of Geungnakjeon(極樂殿) and creation of the buddhist mural paintings(後佛壁畵) of Muwisa(無爲寺) in Gangjin(康津). Muwisa Geungnakjeon was constructed in 1430(in the twelfth year of King Sejong's(世宗)reign). At that

• Journal of Conservation Science
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• v.32 no.4
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• pp.535-548
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• 2016

Hanging paintings are used for special ceremonies in Buddhist temple. They are stored in special storage box called "Gwaebulgwae" which means storage box for a hanging painting. Studies regarding pigments, background fibers and textiles of hanging paintings are carried out with many data in the field of conservation science. However, there are only few studies for the axes of hanging paintings and storage boxes. In this study, species identification for wooden axes of hanging paintings and storage boxes from the Joseon dynasty are carried out. Hanging painting of Beopjusa temple, Magoksa temple, Sudeoksa temple, Gaeamsa temple, Sudosa temple, Bukjangsa temple, Dorimsa temple, Tongdosa temple and Daeryeonsa temple are selected. Sampling is carried out from the axes of hanging paintings and storage boxes. 81 samples are collected from hanging paintings and storage boxes. As a result, 51 hard pines of Pinus spp., 8 Tilia spp., 6 Juniperus spp., 5 soft pines of Pinus spp., 4 Tsuga spp., 3 Pseudotsuga spp., 2 Berchemia spp., 1 Pyrus spp., 1 Bambusoideae are identified. Tsuga spp. and Pseudotsuga spp. might be used in conservation and restoration works in modern times because those species do not naturally grow in Korea. Most hanging paintings and storage boxes are made of hard pine. Also, some of are made of Tilia spp., because it represents the symbol of Buddha. Some unique kinds of trees used for wooden sculpture are identified, such as Juniperus spp. and Berchemia spp. Authentic conservation and restoration works could be carried out with this data-base.

• The Journal of Art Theory & Practice
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• no.8
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

• Journal of Conservation Science
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• v.38 no.1
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• pp.45-54
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• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.223-284
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• 2005

Gwaebul, created during late Joseon dynasty, especially from 1885 to 1926, now exist 18 ones. And 12 of them are owned by Buddhist temples located in Seoul city and Gyeonggido province. Royal Tomb praised and Royal household praised Buddhist temples in early Joseon dynasty were supported by Royal Family. As a renovation of Buddhist temples by king Taejong's reign(1400-1418), they became impoverished with reduced Buddhist ceremony. But they maintained their lives in intimate connection with royal family, and went prosperous from late 18th century. At that times, a new trend in Gwaebul appeared, which have popular idea for wishing peace of the dead, the nation and the royal family. The new composition of painting expressed in Gwaebul starts in Amitabha-Triad paintings which carved in first volume of ${\ll}$Amita-yohaegyeong${\gg}$ made of wooden plate. And Gi-heoh(A.D. 1820-1872) carved it in 1853 at Naewonam Buddhist hermitage of Samgaksan mountain And a return of Suwolgwaneumdo which had been popularized in late Goryo dynasty is worth noticing as a new issue of late Joseon dynasty. It is related with a composition of Gwaebul that expressed 'a leading the dead to the good', a Buddhist consciousness of falsehood and fancy. The saturated and blurred style of painting, the fact that centralization-powered lineage of painter who used composition of multi-used basic pattern, are characteristics of this period.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.45-63
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• 2014

In the Taenghwa(Buddhist paintings), the clothing habits of the times can be observed since it depicts the lives of people from all walks of life. These 16th century Taenghwas were drawn based on the understanding of the ritual costumes of early Joseon dynasty appearing in works such as oryeui Se-jong-sil-lok; Sejong chronicles and Gyong-guk-Dae-jon. It shows the perception of various types of clothing such as the Myeon-Bok(King's Full Dress), Won-yu-gwan-bok(King's Ceremonial Dress), and Gon-ryong-po(royal robe at work), and describes the early King's Won-yu-gwan-bok in the early Joseon dynasty that equips Bang-sim-gok-ryong(Round Neck Band). Various officials' uniforms and various men's coats are described. From it, one can visually verify the records of Joong-jong-sil-lok; Joongjong chronicles that describes the appearances of various hats and coats. They also tell us that Chang-ot(light outer coat) was worn prior to the 17th century. It also shows us that the ritual costume of women in Koryo was passed down to early Joseon. Also, in regards to the Buddhist priest costumes, the jang-sam's gray color and ga-sa's red color has been passed down until today. The most representative characteristic for clothing materials were horsehair, silk, ramie, hemp, and cotton.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.111-122
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• 1992

Studying the dress style of the Buddhist Goddess of Mercy SU WOL KWAN EUM DO (Drawings on the Buddhist Goddess of Mercy who is watching the Moon reflected in the still water), it is composed of a splendid, jewel crown with five colors, a light and flimsy, non-colored veil with many kinds of gold·plated patterns. This gold·plated carapace figures on a scarlet ground are drawn on the veil and the oval-type flower figures mixed with a scarlet lotus blossom ard arranged. An arabesque pattern of BOSANGHWA (an imaginary, Buddhistic flower figure) is mainly used for both line decorations and necklace. Like this, various kinds and types of figures are in harmony in spite of many changes in figure design. The SU WOL KWAN EUM DO in Koryo dynasty is full of colorful, subtle, harmonious figures which are unique style, which cannot be found in japan, China, and so on. In other words, most of most of dress patterns which are shown in SU WOL KWAN EUM DO are China ink paintings with mountains and waters as its setting. In case of color painting, figure designs are seldom used. The dress pattern in SU WOL KWAN EUM DO of koryo dynasty is characteristic of its variety and magnificent colors.

• Journal of architectural history
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• v.7 no.4 s.17
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• pp.151-163
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• 1998

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.