A Study on Buddhist Paintings of Iksan in Mordern Era

This paper aims to identify the current state of Buddhist paintings in the Iksan region with a particular focus on temples as well as introduce a variety of works. Additionally, it examines the hwaseung (monk painters) who participated in the creation of these Buddhist paintings through the analysis of hwagi (painting inscriptions) recorded on the artworks. Although there is a relatively small number of extant Buddhist paintings in the Iksan area, with 20 works across eight sites, this study attempts to address gaps in previous research by exploring the connection between the number of works and the influence of the hwaseung. This paper is particularly useful in understanding the cultural context of the Iksan region through its study of Buddhist painting production from the late 19th to the 20th century. During this period, various hwaseung groups actively worked and represented their respective regions. Members of the group known as the Gyeryongsan School such as Geumho-Yakhyo, Boeung-Munseong, and Geumyong-Ilseop gained prominence for their unique iconography and painting styles within the modern Buddhist art scene. In contrast, there were others like Hoeun-Jeongyeon who left their mark by staying steadfast in maintaining and preserving the traditional painting style of Geumho-Yakhyo. The constant exchange and mutual influence practiced amongst painters traveling across regions make it difficult to classify individuals under a specific school. However, the most prominent group of hwaseung to represent the Iksan area undoubtedly includes Hoeun-Jeongyeon, along with his contemporaries Jinwol-Cheonho and Jineum-Sango. These painters both upheld and transformed preexisting traditions. Additionally, the use of sketches led to the production of many Buddhist paintings featuring the same iconography. Although there is a limited number of works in the Iksan region, the active involvement of influential hwaseung from the 19th to 20th centuries highlights the shared iconographic and stylistic elements of the era and regional schools. Simultaneously, the hwaseung were also able to establish their individual styles through various ways such as the use of Chinese woodblock prints and the genre of hadan-tanghwa (hanging paintings), which aptly showcases each painter’s skill and abilities. The influence of the Gyeryongsan School continues in modern Buddhist painting, leaving a lasting impact on the Buddhist paintings found in the Iksan region.