동국대학교 박물관 소장 <阿彌陀說法圖> 硏究

A study on <阿彌陀說法圖(Painting of Amitabha Buddha’s Preaching Scene)> possessed by Dongguk University’s Museum

Some researches only introduced <Painting of Amitabha Buddha’s Preaching Scene> made in 1759 that is now possessed by Dongguk University’s Museum to be compared with other artworks when mentioning painting styles of 線描佛畵(Buddhist Paintings in Line Drawing) made in the late of Chosun Dynasty or describing characteristics of <Painting of Amitabha Buddha’s Preaching Scene> with no greater attention in Buddha’s paintings in the late of the dynasty. However, this painting, <Painting of Amitabha Buddha’s Preaching Scene>, can be considered as an exceptional case that transfigured an icon and additionally presented seated Ksitigarbha in the Eight Great Bodhisattvas and as a major work of Buddhist Painting in Line Drawing in the 18th century that truly inherited a painting style of Buddhist Painting in Line Drawing in the 16th century of Chosun Dynasty. Of these, the excellent control of drawing lines’ strength, a flow of elegant line drawing, and spatial component power instead of coloring are very remarkable as compared with other contemporary Buddhist paintings in line drawing. On the one hand, an icon and drawing style of this work belong to Uigyeom(義謙) who was a monk artist in the 18th century. Maengchan (孟贊) and Bosim (普心) didn’t have any direct relation to educate mankind with Uigyeom and other painters who painted with Uigyeom, but they positively accepted his painting style because he was a leading painter in the field of Buddhist Painting at that time. This work’s icon and drawing style should newly engage public attention in studies on Buddhist paintings in the late of Chosun Dynasty. Furthermore, it seems to need reexploration of a monk painter, ‘Maengchan (孟贊),’ who didn’t leave behind outstanding works.