표제지

목차

I. 머리말 5

II. 南楊州 興國寺의 沿革 10

1. 南楊州 興國寺의 歷史 10

2. 南楊州 興國寺의 後援者 16

III. 南楊州 興國寺의 佛畵 29

1. 佛·菩薩畵 30

1) 掛佛畵 30

2) 釋迦說法圖 33

3) 藥師如來十二神將圖 35

4) 熾盛光如來說法圖 38

5) 釋迦八相圖 40

6) 地藏十王圖 44

2. 神衆畵 46

1) 大雄寶殿 〈神衆圖〉 46

2) 議政府 回龍寺 소장 〈神衆圖〉 49

3) 大房 〈神衆圖〉 51

3. 其他 53

1) 甘露王圖 53

2) 十六羅漢圖 57

3) 現王圖 61

IV. 南楊州 興國寺 佛畵의 展開 樣相 63

1. 圖像의 展開 63

1) 圖像의 受容 63

2) 圖像의 變容 76

3) 圖像의 繼承 83

2. 南楊州 興國寺와 畵師 99

1) 聯關關係 99

2) 畵師의 活動 107

V. 19세기 서울·경기지역의 佛畵와 南楊州 興國寺 136

1. 社會的 背景 136

1) 佛敎係 商況 136

2) 施主階層의 變化 141

2. 制作樣相과 畵風 155

1) 造成에 따른 分類 155

2) 19世紀 서울·경기지역 佛畵의 畵風 159

3. 南楊州 興國寺 佛畵의 特徵 172

VI. 맺음말 176

參考文獻 181

附錄 248

부록 1.南楊州 興國寺 佛畵 畵記 248

부록 2. 南楊州 興國寺 佛畵-畵師 253

부록 3. 喚惺堂 志安 문중의 계보 255

부록 4. 南楊州 興國寺 懸板 256

ABSTRACT 274

《表 1》 南楊州 興國寺의 佛畵 7

《表 2》 서울·경기 지역의 王室 願刹 目錄 16

《表 3〉 본 논문의 주요 대상 불화 29

《表 4》 南楊州 興國寺 藥師如來十二神將圖의 도상학적 표현 36

《表 5》 조선후기 약사여래도의 도상 표현 37

《表 6》 南楊州 興國寺 〈神衆圖〉(1883) 도상 전개 목록 65

《表 7》 南楊州 興國寺 대방 〈神衆圖〉의 도상전개 목록 68

《表 8》 通度寺 〈釋迦八相圖〉와 南楊州 興國寺 〈釋迦八相圖〉 도상 비교 75

《表 9》 서울·경기지역 반가좌협시 도상의 활용 79

《表 10》 守國寺 〈甘露王圖〉와 南楊州 興國寺 〈甘露王圖〉의 도상 변용 80

《表 11》 見性庵 〈釋迦十六羅漢圖〉와 興國寺 〈十六羅漢圖〉의 도상비교 82

《表 12》 南楊州 興國寺 〈地藏十王圖〉도상 전개 84

《表 13》 南楊州 興國寺 석가여래설법도 도상의 계승 86

《表 14》 南楊州 興國寺 치성광여래도 도상의 계승 90

《表 15》 南楊州 興國寺 甘露王圖 도상의 계승 93

《表 16》 奉恩寺 〈十六羅漢圖〉의 도상 비교 96

《表 17》 佛巖寺 〈十六羅漢圖〉의 도상 비교 97

《表 18》 南楊州 興國寺 懸板·畵記에 나타난 畵師 目錄 103

《表 19》 서울·경기지역의 大房 목록 104

《表 20》 南楊州 興國寺의 大形佛事 목록 106

《表 21》 19世紀 後期 서울·경기지역 大形佛事 目錄 114

《表 22》 永換 作例 目錄 116

《表 23》 應釋 作例 目錄 123

《表 24》 奉鑑이 수화사로 참여한 작품 130

《表 25》 華山堂 在根 작례 目錄 130

《表 26》 體訓 작례 目錄 131

《表 27》 天機 작례 目錄 132

《表 28》 震徹이 수화사로 참여한 작품 133

《表 29》 1901년 大屯寺 불사 134

《表 30》 正祖의 사찰 후원 目錄 143

《表 31》 純祖의 사찰 후원 目錄 144

《表 32》 哲宗의 사찰 후원 目錄 144

《表 33》 高宗의 사찰 후원 目錄 145

《表 34》 純元王后의 사찰 후원 目錄 145

《表 35》 神貞王后의 사찰 후원 目錄 146

《表 36》 洪大妃의 사찰 후원 目錄 146

《表 37》 明聖皇后의 사찰후원 目錄 147

《表 38》 純獻貴妃의 사찰 후원 目錄 148

《表 39》 興宣大院君의 사찰 후원 目錄 149

《表 40》 흥성대원군 시주 불화 目錄 149

《表 41》 豊壤 趙氏의 사찰 후원 目錄 150

《表 42》 安東 金氏의 사찰 후원 目錄 151

《表 43》 秋史 金正喜의 사찰 후원 目錄 152

《表 44》 사찰계의 유형과 개설횟수 153

《表 45》 사찰계의 시주 불화 154

《表 46》 다른 지역 작례와의 비교 155

《表 47》 18세기 서울·경기지역의 불화제작 157

《表 48》 畵面分割式 釋迦八相圖 160

《表 49》 1화면 8분할식 〈釋迦八相圖〉에 표현된 장면 161

《表 50》 畵面分割式 極樂九品圖 162

《表 51》 畵面分割式 十六羅漢圖 163

삽도 1. 南楊州 興國寺 만월보전 현판 20

삽도 2. 南楊州 南楊州 本과 奉恩寺 本의 채색비교 48

삽도 3. 보문사 本과 興國寺 본의 교체도상 64

삽도 4. 佛巖寺 판 〈阿彌陀如來 變相圖〉(1844) 69

삽도 5. 현등사 本과 南楊州 興國寺 本의 세부표현 차이 71

삽도 6. 반가좌협시보살 도상의 변용 76

삽도 7. 見性庵 〈釋迦十六羅漢圖〉에서 나한의 위치 82

삽도 8. 釋迦說法圖 도상의 교체 85

삽도 9. 南楊州 興國寺 大房과 작업현황 105

삽도 10. 永換의 도상첨가 예 1. 지장시왕도 117

삽도 11. 永換의 도상첨가 예 2. 熾盛光如來說法圖 118

삽도 12. 永換과 應釋의 안면 표현 차이 118

삽도 13. 공간에 따른 신체표현 비교 119

삽도 14. 永換과 應釋의 구름표현의 차이 120

삽도 15. 永換과 應釋의 구름표현 비교 126

삽도 16. 초본을 통한 도상의 전개-동국대학교 박물관 소장 초본 165

삽도 17. 동일도상의 전개-동화사 염불암 〈극락구품도〉 166

삽도 18. 도상의 수용과정에서 나타난 도상학적 혼용 167

삽도 19. 하나의 광배를 사용하는 무리 168

삽도 20. 존상의 비대화를 통한 여백의 축소 169

삽도 21. 반원권문 170

삽도 22. 南楊州 興國寺의 전통적 문양사용 174

【圖 1】 南楊州 興國寺 전경 199

【圖 2】 德興大院君 묘와 석인상 199

【圖 3】 南楊州 興國寺 釋迦三尊像, 1770년 전후 199

【圖 4】 南楊州 興國寺 十六羅漢像 199

【圖 5】 南楊州 興國寺 〈地藏十王圖〉, 비단채색, 157.2 × 170.7 ㎝, 1792 200

【圖 6-1】 南楊州 興國寺 〈十王圖〉(제 3 송제대왕), 비단채색, 109... 201

【圖 6-2】 南楊州 興國寺 〈十王圖〉(제 5 염라대왕), 비단채색,... 202

【圖 6-3】 南楊州 興國寺 〈十王圖〉(제 6 변성대왕), 비단채색,... 203

【圖 6-4】 南楊州 興國寺 〈十王圖〉(제 6 평등대왕), 비단채색,... 204

【圖 6-5】 南楊州 興國寺 〈시왕도〉(제 10 오도전륜대왕), 비단채색,... 205

【圖 7】 南楊州 興國寺 〈現王圖〉, 비단채색, 155×109.5㎝, 1846, 慧皓,... 206

【圖 8】 南楊州 興國寺 〈掛佛畵〉, 비단채색, 544.5×306.4,... 207

【圖 9】 金寶庵 〈神衆圖〉, 비단채색, 119 × 95㎝, 1866, 應崙 奉法, 목... 208

【圖 10】 南楊州 興國寺 〈地藏十王圖〉, 비단채색, 170.3×199.4㎝, 1868,... 209

【圖 11】 南楊州 興國寺 〈甘露王圖〉, 비단채색, 173×191.5㎝, 1868, 永換,... 210

【圖 12】 南楊州 興國寺 〈치성광여래설법도〉, 견본채색, 191.3×225.3㎝, 1868,... 211

【圖 13】 南楊州 興國寺 〈神衆圖〉, 비단채색, 170.7×188.6㎝, 1868, 永換, 應... 212

【圖 14-1】 南楊州 興國寺 〈釋迦八相圖〉(兜率來儀相), 비... 213

【圖 14-2】 南楊州 興國寺 〈釋迦八相圖〉(昆藍降生相),... 214

【圖 14-3】 南楊州 興國寺 〈釋迦八相圖〉(四門遊觀相), 비... 215

【圖 14-4】 南楊州 興國寺 〈釋迦八相圖〉(踰城出家相), 비... 216

【圖 14-5】 南楊州 興國寺 〈釋迦八相圖〉(雪山修道相), 비단... 217

【圖 14-6】 南楊州 興國寺 〈釋迦八相圖〉(樹下降魔相),... 218

【圖 14-7】 南楊州 興國寺 〈釋迦八相圖〉(鹿苑轉法相),... 219

【圖 14-7】 南楊州 興國寺 〈釋迦八相圖〉(雙林涅槃相), 비... 220

【圖 15】 南楊州 興國寺 〈神衆圖〉, 견본채색, 158.5×197㎝, 1883, 應碩, 昨... 221

【圖 16】 南楊州 興國寺 〈釋迦說法圖〉, 면본채색, 137.4×219.7㎝, 1892, 永換... 222

【圖 17】 南楊州 興國寺 〈藥師如來十二神將圖〉, 면본채색, 185×210.2㎝, 1892,... 223

【圖 18-1】 南楊州 興國寺 〈十六羅漢圖〉, 면본채색, 123×207.8㎝, 1892, 應釋... 224

【圖 18-2】 南楊州 興國寺 〈十六羅漢圖〉, 면본채색, 123.8×209㎝,1892, 應釋... 224

【圖 18-3】 南楊州 興國寺 〈十六羅漢圖〉, 면본채색, 123×207㎝, 1892, 應釋,... 225

【圖 18-4】 南楊州 興國寺 〈十六羅漢圖〉, 면본채색, 123×209㎝, 1892, 應釋,... 225

【圖 19】 南楊州 興國寺 〈神衆圖〉, 면본채색, 169.7×209㎝, 1892, ○○, ○釋,... 226

【圖 20】 南楊州 興國寺 〈現王圖〉, 면본채색, 160.6×165.8㎝, 19세기, 機炯, 完... 227

【圖 21】 普門寺 大雄殿 〈神衆圖〉, 140×200㎝, 1867, 應釋 228

【圖 22】 開運寺 大雄殿 〈神衆圖〉, 156×196㎝, 1870, 應釋 228

【圖 23】 萬壽寺 〈神衆圖〉,175.2×173.8, 1871, 瑞益, 應釋, 斗欽, 體訓 228

【圖 24】 彌陀寺, 〈神衆圖〉, 140.4×192, 1873, 應釋, 瑞益, 斗欽, 頓照 228

【圖 25】 慶國寺〈神衆圖〉,169×161.5㎝, 1887, 竺衍, 亘巡 229

【圖 26】 彌陀寺〈神衆圖〉,141.7×228.8㎝, 1887, 永換 229

【圖 27】 普光寺 〈神衆圖〉,161.3×187.8, 1890, 龍○, 竺衍, 宗仁, 頓照 229

【圖 28】 龍門寺 〈神衆圖〉, 168×205, 1884, 機炯 외 7人 229

【圖 29】 南長寺 〈神衆圖〉, 144×125㎝, 1897, 奉秀 외 8人 230

【圖 30】 護國地藏寺 〈神衆圖〉, 149 × 197.5㎝, 1893, 若效, 定鍊, 妙性, 允稙 230

【圖 31】 彌陀寺 〈神衆圖〉,145.5×155.5㎝, 肯法 외 5人 230

【圖 32】 蓮華寺 〈神衆圖〉, 154.2×208㎝, 1901, 瑲曄, 應崙 230

【圖 33】 守國寺 〈神衆圖〉, 151.8×251㎝, 1907, 긍법 외 5人 231

【圖 34】 通度寺 〈神衆圖〉, 83×63㎝, 1927, 竺衍 231

【圖 35】 表忠寺〈神衆圖〉, 150.5×124㎝, 1933, 鉉成 231

【圖 36】 奉印寺 浮圖庵 〈神衆圖〉,153 ×318㎝, 1867, 應釋, 용문사 소장 231

【圖 37】 大乘寺 〈神衆圖〉, 178×188, 1876, 偉相, 在根, 機炯, 喆侑 외 7人 232

【圖 38】 신륵사 〈神衆圖〉, 83.5×275, 1906, 亘巡외 11人 232

【圖 39】 奉先寺 〈掛佛畵〉, 805 × 459, 1735, 覺聰, 七惠 232

【圖 40】 鶴林寺 〈掛佛畵〉, 442×252, 18세기 추정, 七惠 232

【圖 41】 佛巖寺 판 〈阿彌陀如來變相圖〉(1844), 慧皓 233

【圖 42】 삼척 영은사 〈地藏菩薩圖〉, 260×240, 1811, 도난 233

【圖 43】 懸燈寺 〈地藏十王圖〉, 160×192, 1830 233

【圖 44】 普門寺 〈地藏十王圖〉, 143×181, 1867, 應釋 233

【圖 45】 靑龍寺 〈地藏十王圖〉, 149.2 × 180.6, 1868, 應崙 234

【圖 46】 七長寺 〈地藏十王圖〉, 156.5 × 179.5, 1888, 永換, 瑲曄 234

【圖 47】 蓮華寺 〈地藏十王圖〉, 166 × 213.2, 1901 234

【圖 48】 龍門寺 〈地藏菩薩圖〉, 211 × 228, 1813, 信謙 234

【圖 49】 通度寺 〈釋迦八相圖〉, 233.5 ×151, 1740, 抱冠 외 다수 235

【圖 50】 持寶寺 〈阿彌陀說法圖〉, 237 × 222, 1825, 信謙 235

【圖 51】 月精寺 〈阿彌陀說法圖〉, 96 × 146, 1856, 永熙, 頓直 235

【圖 52】 彌陀寺 〈觀音菩薩圖〉, 90.7 × 93.8, 1884, 應崙 235

【圖 53】 奉恩寺 〈昆盧舍那佛圖〉, 302.3×236, 1886, 天機, 출초 應釋 236

【圖 54】 雲水庵 〈阿彌陀說法圖〉,129.5 × 210.5, 1887, 永換 236

【圖 55】 彌陀寺 〈阿彌陀說法圖〉, 130.0×215.8, 1897, 긍법 외 4人 236

【圖 56】 〈阿彌陀說法圖〉, 131×195.8, 1900, 尙月외 6人 목아불교박물관 소장 236

【圖 57】 靑巖寺 〈阿彌陀說法圖〉, 181×250, 1906, 奉河 외 6人 237

【圖 58】 慶國寺 〈阿彌陀說法圖〉, 154×245, 1924, 金寶鏡외 2人 237

【圖 59】 報德寺 〈熾盛光如來圖〉, 1876, 應釋 237

【圖 60】 龍門寺 〈熾盛光如來圖〉, 111 × 159, 1884, 燁桂, 震徹 237

【圖 61】 七長寺〈熾盛光如來圖〉156 × 189.7, 1888, 永換, 瑲曄 238

【圖 62】 影郞寺 〈熾盛光如來圖〉186.5 × 220 1891, 天機 238

【圖 63】 普光寺〈熾盛光如來圖〉166.2 × 257.5 1898, 應釋 외 4人 238

【圖 64】 蓮華寺 〈熾盛光如來圖〉142 × 205.5, 1901, 肯法 외 4人 238

【圖 65】 〈熾盛光如來圖〉, 134×254, 尙休, 목아불교박물관 소장 239

【圖 66】 興旺寺〈熾盛光如來圖〉, 109.5 × 148, 1905, 奉法 외 4人 239

【圖 67】 三聖庵 七星閣〈熾盛光如來圖〉105 × 220.5, 1909, 應釋 외 3人 239

【圖 68】 靑巖寺〈熾盛光如來圖〉, 137 × 212, 1914 239

【圖 69】 開運寺 삼성각 〈熾盛光如來圖〉, 157×200, 1935, 金春潭 240

【圖 70】 淸涼寺, 〈熾盛光如來圖〉, 193×201.5, 1937, 金春潭 240

【圖 71】 〈熾盛光如來圖〉117.5×189.7, 20세기, 홍익대학교 소장 240

【圖 72】 守國寺 〈甘露王圖〉, 1830, 熙圓, 프랑스 국립기메동양 박물관 소장 240

【圖 73】 開運寺 〈甘露王圖〉, 175 × 269, 1883, 驢訓 외 5人 241

【圖 74】 慶國寺 〈甘露王圖〉, 166.8 × 174, 1887竺衍 외 3人 241

【圖 75】 彌陀寺 〈甘露王圖〉, 155 × 220.8, 1887, 石雲 외 4人 241

【圖 76】 佛巖寺 〈甘露王圖〉, 160.5 × 195, 1890, 肯法, 等閑 241

【圖 77】 奉恩寺 〈甘露王圖〉, 200 × 316.5, 1892, 永換 외 5人 242

【圖 78】 靑龍寺 〈甘露王圖〉, 161 × 192, 1898, 應釋 242

【圖 79】 普光寺 〈甘露王圖〉, 187.7×252.8, 1898, 應釋 외 4人 242

【圖 80】 通度寺 〈甘露王圖〉, 199.5 × 203 1900, 震徹 외 19人 242

【圖 81】 大興寺 〈甘露王圖〉, 177 × 163.5, 1901, 幻鑑외 5人 243

【圖 82】 守國寺 〈감로왕도〉, 157.5 × 261, 1907, 肯法 외 16人 243

【圖 83】 安養庵 〈甘露王圖〉, 162 × 156.5, 1909, 應釋 243

【圖 84】 彌陀寺 〈甘露王圖〉, 147 × 200.5, 1918, 竺衍 243

【圖 85】 守國寺 〈釋迦十六羅漢圖〉, 153 × 249.5, 1907, 肯法 외 2人 244

【圖 86】 開運寺 〈釋迦八相圖〉, 177.5 × 266, 1883, 體訓, 永換, 瑲曄 244

【圖 87】 護國地藏寺 〈釋迦八相圖〉, 145.6 × 189.5, 1893, 頓法 244

【圖 88】 靑龍寺 〈釋迦三世佛圖〉, 338 × 338, 1878, 天娠, 출초 應崙 244

【圖 89】 〈神衆圖 草本〉, 165 × 133, 應釋, 동국대학교 박물관 소장 245

【圖 90】 靑龍寺 〈神衆圖〉, 155.8 × 133.2, 1868, 永換 245

【圖 91】 七長寺 〈神衆圖〉,163 × 127, 1886, 永換 245

【圖 92】 桐華寺 念佛庵 〈極樂九品圖〉, 170.5 × 163, 1841, 東岑 외 5人 245

【圖 93】 表忠寺 〈極樂九品圖〉, 184 × 170, 1882, 肯律 외 3人 246

【圖 94】 護國地藏寺 〈極樂九品圖〉, 165.5 × 171, 1893, 若效 외 3人 246

【圖 95】 懸燈寺 地藏庵 〈神衆圖〉, 111 × 115.7, 1790, 雪訓, 敬環 246

【圖 96】 泉隱寺 〈神衆圖〉, 116 × 69, 1776, 敏徽, 來叔 246

【圖 97】 雲水庵 〈神衆圖〉, 149 × 101.2, 1841, 天如 외 6人 247

【圖 98】 奉恩寺 〈掛佛畵〉, 655 × 380.5, 1886, 天機, 출초 體訓 외 2人 247

【圖 99】 奉元寺 〈極樂九品圖〉, 1905, 도난 247

【圖 100】 高陽 興國寺 〈極樂九品圖〉, 147×206.2, 19세기 247

 This study set out to investigate Buddhist paintings and painters related to the Heungguk Buddhist Temple is located in Namyangju, so called Namyangju Heungguk Buddhist Temple(南楊州 興國寺) to understand the Buddhist paintings of Seoul and Gyeonggi. Chapter II reviewed the history of Namyangju Heungguk Buddhist Temple, which was built as the Neungching Buddhist temple of Deokheungdaewongun(德興大院君), who is the father of King Seonju, and whose title was changed to "Heungguk Buddhist Temple" in 1626. It was also called "Deoksa"(德寺) being a great favor of the royal family in terms of support since the reign of King Jeongjo. In fact, its remaining buildings, paintings and records show the source of the royal family. Its records specifically tell that it was also called "7 Gyujeongso"(七糾正所) being appointed as the Buddhist temple to govern and supervise Buddhist temples around the nation in the latter half of Chosun. Its economic affluence made it the pillar of the mountains. Chapter III divided the Buddhist paintings of the Namyangju Heungguk Buddhist Temple into the categories of Bulsal (佛事) and Bodhisattva, Shinjunghwa, and others and examined them according to icon characteristics and expressive techniques.

Chapter IV examined the development patterns of the Buddhist paintings of the Namyangju Heungguk Buddhist Temple according to the icon flow and painters' activities. Section IV-1 focused on the formation process of the icons of the temple's Buddhist paintings through the acceptance and alteration of icons and looked into their inheritance by the paintings since the latter half of the 19th century. Section IV-2 covered the relationships between the Namyangju Heungguk Buddhist Temple and painters and further their activities. The temple had a long reputation for its hosting of many painters, thus being called the "training center of painters." Its hanging boards indicate that many painters who engaged in activities in Seoul and Gyeonggi in the latter half of the 19th century stayed at the temple at the same time. The fact that its Buddhist paintings served as models for other Buddhist paintings suggests that the temple played an important role for painters in the latter half of the 19th century. Those painters were examined according to the former and latter half of the 19th century; those from the former half of the 19th century were usually the Buddhist monks of the Hwanseongdang Jian(喚惺堂 志安) clan in Gangwondo and engaged in activities around the Bongeun Buddhist Temple during the period. Since there were not many Buddhist temples, few records remain today. However, it is definite that those painters who engaged in activities in Seoul and Gyeonggi such as Hyeho, Sewon, and Chejeong came from the same clan. Such painters as Yeonghwan and Eungseok participated in large-scale Buddhist paintings as chief painters since the 1860s. Following them, Jaegeun, Geungsun, Seoik, Chehun, Cheongi, Bonggam, Eungryun, Geungbeop, and Dunbeop who used to participate in Buddhist paintings as Dongcham painters started to serve as chief painters since the 1880s. Chapter V sorted out the Buddhist paintings of Seoul and Gyeonggi and looked into the meanings of the paintings of the Namyangju Heungguk Buddhist Temple further. Section V-1 examined the social background for the abundant productions of Buddhist paintings in those regions in the 19th century and changes to the donator groups. Chosun discarded the old policy of suppressing Buddhism and started to show much interest in it.

Buddhist priests engaged in more active activities than before and had exchanges with such Confucian scholars as Kim Jeong-hee and Jeong Yak-yong, also striving to publish books, which well demonstrates Buddhism gradually evolving into a popular religion. In addition, the donator groups grew diverse; the queens and royal concubines used to be the sole donators, but the kings including King Jeong-jo began to offer their direct supports to the religion. Furthermore, the maternal relations of the kings who had power in their hands began to offer their donations to the religion along with the families in power and the private sector. Section V-2 examined the production patterns and styles of Buddhist paintings of Seoul and Gyeonggi in the 19th century as they were different from their counterparts before. Before the former half of the 19th century, the Buddhist paintings of Seoul and Gyeonggi were usually commissioned by the royal family and created more within the capital city than outside it. Entering the latter half of the 19th century, the Buddhist paintings can be characterized by "canvas simplification,"(畵幅 幹略化) which refers to the tendency of putting different paintings which used to be painted in different canvases in one canvas. Another characteristic, "sharing of icons"(圖像 活用·共有) suggests that the painters accepted and shared the old icons instead of creating new ones. The painters of Seoul and Gyeonggi had more active exchanges with one another compared to those of other regions, which means that sharing of icons can be one of the characteristics of the Buddhist paintings of Seoul and Gyeonggi in the 19th century. In the latter half of the 19th century, those paintings exhibited a strong tendency of filling up every inch of a canvas in the composition. The painters would frequently use such motifs as folding screens and clouds to fill up any empty space on the canvas or make the Buddha images bigger and bigger. The final characteristic of the paintings of Seoul and Gyeonggi in the 19th century is decorativeness, which can be observed in the excessive adoption of patterns. The above-mentioned strong tendency of filling up every inch of a canvas also expands to the uses of patterns. In particular, all the paintings of the latter half of the 19th century filled the Gasadans with patterns, one of which is Banwongwonmun, the schematized version of Banhwamun.

The significance of the study lies in that it examined and arranged the meanings of the Buddhist paintings of the Namyangju Heungguk Buddhist Temple in Seoul and Gyeonggi and sorted out the Buddhist paintings and painters of Seoul and Gyeonggi, which used to lack arrangement, around the Namyangju Heungguk Buddhist Temple. Future study needs to further investigate the parts excluded in the study for not being related to the Namyangju Heungguk Buddhist Temple.