조선후기 통도사 고승 영찬의 분포와 작시 양상 - 사대부 작품을 중심으로

초록

Yeongchan serves as a literary resource for examining the life and ideology of the subject of the painting, aspects that the painting itself could not fully express. Appreciation of Yeongchan begins with an understanding of the subject’s life and ideology. Only when considering the external context—the artist’s background, their connection to the subject, and their ties to the temple—does true appreciation begin. Using this as background knowledge, reflecting on the meaning of each poetic word, phrase, and sentence further expands the meaning network of the portrait. Combining this appreciation with the visual elements of the painting allows the viewer to experience a vivid, emotional connection, as if engaging in a dialogue with the subject within the painting. This paper catalogs the 22 Yeongchan poems by literati scholars currently preserved among Tongdosa Temple’s Jinyeong paintings and introduces their distribution patterns. It specifically investigates the connections between the revered subjects—the protagonists of the paintings: Cheongheo Hyujeong, Samyeong Yujeong, Yongam Hyeon, Seongdam Uijeon and their lineages—and the Tongdosa lineages of the Yeongchan serves as a literary resource for examining the life and ideology of the subject of the painting, aspects that the painting itself could not fully express. Appreciation of Yeongchan begins with an understanding of the subject’s life and ideology. Only when considering the external context—the artist’s background, their connection to the subject, and their ties to the temple—does true appreciation begin. Using this as background knowledge, reflecting on the meaning of each poetic word, phrase, and sentence further expands the meaning network of the portrait. Combining this appreciation with the visual elements of the painting allows the viewer to experience a vivid, emotional connection, as if engaging in a dialogue with the subject within the painting. This paper catalogs the 22 Yeongchan poems by literati scholars currently preserved among Tongdosa Temple’s Jinyeong paintings and introduces their distribution patterns. It specifically investigates the connections between the revered subjects—the protagonists of the paintings: Cheongheo Hyujeong, Samyeong Yujeong, Yongam Hyeon, Seongdam Uijeon and their lineages—and the Tongdosa lineages of the

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