지금까지 부산ㆍ경남권역의 조선후기 화승과 그 작품에 촛점을 맞춰 많은 연구들이 이뤄진 바 있으나, 근대기 불화작품 및 작가에 대한 연구는 미진한 실정이었다. 따라서 이 글은 1910년부터 1930년대까지 부산ㆍ경남권역에서 불모로 활약하였던 완호의 작품 가운데 화격이 뛰어난 석가설법도를 중심으로 살펴본 것이다. 완호작 석가설법도를 비롯한 일련의 작품들은 일제강점기라는 시대적 상황 속에서도 전통불화를 계승하면서 채색과 문양 표현에 있어서 섬세한 화풍을 보여주고 있다. 특히, 도상 표현에 있어 단순히 플레임 속에 고정된 답습과 반복이 아니라 그 구성과 배치에 변화를 구사하고 있다. 게다가 그는 19세기 서울ㆍ경기권역 불화의 도상을 수용ㆍ활용하였으며, 법의의 장식문양이나 대좌의 진언문 등 새로운 모티브를 수용하여 그의 독특한 작풍을 구축하는데 노력한 작가이기도 하다. 이상과 같은 사실을 통해 완호의 활동공간이었던 불화소에 다양한 초본들이 존재했을 가능성을 엿볼 수 있다.

To date, researchers have focused on artists in in the late Joseon Dynasty, however, we need to put more efforts on Modern Buddhist Paintings. This paper take a closer look at works of Whan-Ho(玩虎), mainly some of his great works the Sakamuni Sermon Painting(釋迦說法圖). For 30 years until in the 1930s, he worked in Pusan and Gyeong-Nam province, the southeast part of South Korea. All of his Sakamuni Sermon Paintings look similar, but the iconography of his works is not confined to traditional one and shows his unique iconography style. While inheriting the old iconongraphy, he made his own style of iconography, which shows in his great works. Moreover, while his works shows not only the relevance to other Buddhist Paintings from the artists in Gyeonggi Province in the 19th cen-tury but also his new decoration style which was used in the early 20th century. Under the circumstances, it is highly possible that there are lots of drafts of traditional Buddhist paintings and Whan-Ho's works of art in the place made Buddhist Painting(佛畵所) where he mainly worked with other monk-artists. His works in the place made Buddhist Painting must have his unique but great artistic merit with using the traditional paintings.

To date, researchers have focused on artists in in the late Joseon Dynasty, however, we need to put more efforts on Modern Buddhist Paintings. This paper take a closer look at works of Whan-Ho(玩虎), mainly some of his great works the Sakamuni Sermon Painting(釋迦說法圖). For 30 years until in the 1930s, he worked in Pusan and Gyeong-Nam province, the southeast part of South Korea. All of his Sakamuni Sermon Paintings look similar, but the iconography of his works is not confined to traditional one and shows his unique iconography style. While inheriting the old iconongraphy, he made his own style of iconography, which shows in his great works. Moreover, while his works shows not only the relevance to other Buddhist Paintings from the artists in Gyeonggi Province in the 19th cen-tury but also his new decoration style which was used in the early 20th century. Under the circumstances, it is highly possible that there are lots of drafts of traditional Buddhist paintings and Whan-Ho's works of art in the place made Buddhist Painting(佛畵所) where he mainly worked with other monk-artists. His works in the place made Buddhist Painting must have his unique but great artistic merit with using the traditional paintings.

Whan-Ho(玩虎), Sakamuni Sermon Painting(釋迦說法圖), Modern Buddhist Paintings(近代佛畵)