earticle

영어

Yong‐seong showed his modernistic tendency in reforming the circle of Buddhism radically through the period under the rule of Japanese Imperialism, and the portraits carrying his image also display the transitional pattern reflecting the influence of Western paintings and photography. A characteristic of Yong‐seong’s portraits is that they are representative cases exhibiting the transition from modern Korean traditional portraits to contemporary portrait paintings. Yong‐seong’s portraits were drawn as media for remembering and recalling him by enshrining his achievements and teachings. This study purposed to survey the distribution of Yong‐seong’s portraits throughout the country including that at the Beomeo‐sa Temple. In the process, Yong‐seong’s portraits were found to be distinguished from those created before. In general, portraits created by a new technique representing the corresponding period adopt a uniform style defined by the technique. This tendency was repeated in the modern times when photography was introduced. However, Yong‐seong’s portraits created beyond the modern times applied rather various images of time and different portrait‐making techniques in drawing the same person. That is, Yong‐seong’s portraits maintained the traditional composition, but in terms of material and technique, some portraits were drawn as modern Korean paintings, some adopted the techniques of Western paintings and reflected the painters’ style of painting clearly, some used the photographic technology for its reproducibility, which is a characteristic of modern portraits, and some introduced the camera and photography to traditional portraits. This study was started as a review of Yong‐seong’s achievements in the history of Korean modern Buddhism and his portraits created by his followers, and it is expected to be a starting point for more substantial studies of Yong‐seong’s portraits.

한국어

본고는 용성선사 진영에 대한 연구이다. 용성은 일제강점기를 거치면서 불교계를 적극 개혁하는 근대적 성향을 보였고, 그를 화폭에 담은 초상화 역시 서양 그림과 사진의 영향을 받아 변해가는 과도기적 양상을 보여주고 있다. 용성 초상화의 특징은 근대 인물인 용성을 제작함에 있어 근대식 전통 초상화에서 사진으로의 전이 양상을 보여주는 대표적 사례라는 점이다. 필자는 본고를 통해 범어사를 중심으로 전국에 소장되어 있는 용성 초상화의 분포현황을 밝혔다. 이 과정에서 용성의 초상화는 이전 제작된 초상화와의 차별성이 드러났다. 일반적으로 한 시대의 새로운 기법의 초상화는 그 시대에 양성된 초상화를 모두 일률적인 양식으로 규정화시켰는데, 이는 사진기가 도입된 근대기에서도 그대로 반복되었다. 그러나 근대기를 넘어선 용성의 초상화는 동일 인물을 조성함에 있어서도 오히려 다양한 시대상과 초상화 제작 기법이 반영되고 있는 것이다. 용성 진영은 전통과 근대의 가교를 통해 다양한 양상의 진영으로 조성 봉안된 점을 알 수 있다.