이 글에서는 조선후기 불화에서 출토된 복장을 중심으로 복장의 안립공간과 후령통 형태 및 진언의 관계성, 원통형 후령통과 방통형 후령통의 형태에 따른 복장 납입 물목과 절차 등을 『조상경』 및 복장 관련 의식집에 근거해 그 변화의 흐름을 살펴보았다.
불화 복장의 특징과 변화를 이해하기 위해 이 글에서는 후령통의 안립 공간에 주목하였다. 불화는 후령통을 비롯해 경전, 다라니, 직물 등이 다량을 납입되는 불상과 다르게 복장을 안립하기에 공간이 제한되어 있다. 이러한 공간 제한은 후령통을 비롯해 경전과 다라니, 직물 등이 다량으로 납입되는 불상과 다르게 복장의 원 기능인 후령통에 집중하는 효과를 가져왔으며 이는 결국 불화 복장만의 특징을 형성하였다.
후령통의 안립 공간과 불화 장황은 유기적으로 연결되어 있다. 17-18세기에 불화는 족자로 장황되다가 18세기 후반부터 액자가 선호되었다. 족자에서 액자로의 변화는 복장 안립 공간의 변화를 유도하였고 그 결과 화면 상단 복장낭에 납입되던 후령통은 화면 뒷면으로 이동하였다. 안립 공간의 변화는 후령통의 형태에도 영향을 미쳤다. 복장낭에서는 불상과 같은 원통형의 후령통을 사용하였으나 화면 뒷면으로 공간이 바뀌면서 이에 맞게 납작한 방통형으로 변모하였다. 18세기 말부터 방통형 후령통이 불화의 후령통으로 확산되었고 이는 1824년에 유점사에서 간행된 『조상경』(1824)에 “불상의 후령통은 圓筒, 불화의 후령통은 方筒”이란 내용으로 반영되었다.
후령통의 형태 변화와 맞물려 후령통 안과 밖에 들어가는 물목과 이를 수행하는 절차도 점차 변하였다. <문수사 지장시왕도>(1774)에는 18세기 후반에 불화에 일어난 다양한 변화가 함축되어 있다. 이 불화는 액자로 장황되어 있으면서 화면 뒷면에 원통형 후령통이 납입되어 있다. 후령통의 팔엽덮개는 전시대에 간행된 능가사판 『조상경』(1679)을 따른 것이며 새롭게 추가된 후령통 외부 물목인 열금강지도와 준제구자천원지도는 『비밀개간집』(1784)에 영향을 미쳤다. 18세기 말에서 19세기 초, 방통형 후령통의 사용이 정착되고 팔엽덮개에서 팔엽대홍련지도로 발전하여 열금강지도와 준제구자천원지도와 짝을 이루며 체계화되었다. 그 변화의 산물은 유점사판 『조상경』(1824)에 수록되어 오늘날까지 복장법식으로 지속되고 있다.
This study examines sacred objects(腹藏, bokjang) installed in Buddhist paintings of the late Joseon period and illuminates changes in the spaces for enshrinement, forms of huryeongtong(喉鈴筒), relations with dharani, and differences in the contents and process of enshrining objects between cylindrical and square huryeongtongs, based on Josang gyeong(造像經, a Buddhist scripture compiled in Joseon describing procedures for the creation and preparation of Buddhist statues) and other related ritual manuals. In order to understand the characteristics of bokjang in Buddhist paintings, this paper focuses on the spaces, into which huryeongtong was placed. Unlike Buddhist statues where a large quantity of scriptures, dharani, and textiles as well as huryeongtong was enshrined, Buddhist paintings offer a limited space. As a result, emphasis was placed more on huryeongtong itself, the fundamental element of bokjang practice. It in the end formed the characteristics of bokjang practice of Buddhist paintings. The mounting of Buddhist paintings is connected to the spaces for enshrinement. Buddhist paintings produced during the 17th and 18th centuries had mostly been mounted on hanging scrolls, whereas those produced from the late 18th century on were mounted in frames. It led to a change in the spaces for enshrining sacred items. Huryeongtong was no longer enshrined in the pouch which was hung at the top of the painting; it came to be inserted to the back of the painting. Such a change also affected the form of huryeongtong. Instead of the cylindrical one which was used in Buddhist statues and pouches for Buddhist paintings mounted in hanging scroll format, huryeongtong of flat and square form was invented and used for paintings of the new format. As the latter came to be the standard for Buddhist paintings from the late 18th century, a passage that reads “Huryeongtong used in statues are round; those used in paintings are square” appeared in the new edition of Josang gyeong, which was published at Yujeomsa Temple in 1824. Along with the change in the form huryeongtong, the items and procedures for enshrinement also gradually changed. The painting of the Bodhisattva Kstigarbha and Ten Kings(1774) at Munsusa Temple indicates various changes that occurred in Buddhist painting of the late 18th century. This painting is mounted in frame format, but has a cylindrical huryeongtong attached to its reverse side. The eight petal-patterned lid of huryeongtong is in accordance with the content of Josang gyeong published at Neung’gasa Temple in 1679, while the new additions outside huryeongtong such as lie jingang difang zhi tu(列金剛地方之圖) and chunti jiuzi tianyuan zhi tu(准提九字天圓之圖) influenced the content of the Bimil gaegan jip(秘密開刊集, 1784). From the late 18th to the early 19th centuries, the use of square huryeongtong became prevalent and huryeongtong with eight petal-patterned lid developed into a baye da honglian zhi tu(八葉大紅蓮之圖). It finally came to be a pair with lie jingang difang zhi tu and chunti jiuzi tianyuan zhi tu. Such changes are included in the Yujeonsa edition of Josang gyeong and remain as the standard procedure for bokjang practice today.
This study examines sacred objects(腹藏, bokjang) installed in Buddhist paintings of the late Joseon period and illuminates changes in the spaces for enshrinement, forms of huryeongtong(喉鈴筒), relations with dharani, and differences in the contents and process of enshrining objects between cylindrical and square huryeongtongs, based on Josang gyeong(造像經, a Buddhist scripture compiled in Joseon describing procedures for the creation and preparation of Buddhist statues) and other related ritual manuals. In order to understand the characteristics of bokjang in Buddhist paintings, this paper focuses on the spaces, into which huryeongtong was placed. Unlike Buddhist statues where a large quantity of scriptures, dharani, and textiles as well as huryeongtong was enshrined, Buddhist paintings offer a limited space. As a result, emphasis was placed more on huryeongtong itself, the fundamental element of bokjang practice. It in the end formed the characteristics of bokjang practice of Buddhist paintings. The mounting of Buddhist paintings is connected to the spaces for enshrinement. Buddhist paintings produced during the 17th and 18th centuries had mostly been mounted on hanging scrolls, whereas those produced from the late 18th century on were mounted in frames. It led to a change in the spaces for enshrining sacred items. Huryeongtong was no longer enshrined in the pouch which was hung at the top of the painting; it came to be inserted to the back of the painting. Such a change also affected the form of huryeongtong. Instead of the cylindrical one which was used in Buddhist statues and pouches for Buddhist paintings mounted in hanging scroll format, huryeongtong of flat and square form was invented and used for paintings of the new format. As the latter came to be the standard for Buddhist paintings from the late 18th century, a passage that reads “Huryeongtong used in statues are round; those used in paintings are square” appeared in the new edition of Josang gyeong, which was published at Yujeomsa Temple in 1824. Along with the change in the form huryeongtong, the items and procedures for enshrinement also gradually changed. The painting of the Bodhisattva Kstigarbha and Ten Kings(1774) at Munsusa Temple indicates various changes that occurred in Buddhist painting of the late 18th century. This painting is mounted in frame format, but has a cylindrical huryeongtong attached to its reverse side. The eight petal-patterned lid of huryeongtong is in accordance with the content of Josang gyeong published at Neung’gasa Temple in 1679, while the new additions outside huryeongtong such as lie jingang difang zhi tu(列金剛地方之圖) and chunti jiuzi tianyuan zhi tu(准提九字天圓之圖) influenced the content of the Bimil gaegan jip(秘密開刊集, 1784). From the late 18th to the early 19th centuries, the use of square huryeongtong became prevalent and huryeongtong with eight petal-patterned lid developed into a baye da honglian zhi tu(八葉大紅蓮之圖). It finally came to be a pair with lie jingang difang zhi tu and chunti jiuzi tianyuan zhi tu. Such changes are included in the Yujeonsa edition of Josang gyeong and remain as the standard procedure for bokjang practice today.
