Inscribed "Geonyang2nyeon" Shakyamuni Sermon Painting of Yongmunsa Temple, Namhae

This painting was made in 1897, the second year of the Geonyang era. Centred on Shakyamuni in the middle of the composition, the attendant bodhisattvas Munsu (Manjushri) and Bohyeon (Samantabhadra) are placed at front left and right together with two of the Four Heavenly Kings; above them are four more bodhisattvas — Mireuk (Maitreya), Jehwagalla (Dipankara), Gwaneum (Avalokiteshvara) and Jijang (Kshitigarbha) — arranged two to a side; and at the very top the retinue figures, comprising the great disciples, the eight Vajra guardians (four figures) and the remaining two Heavenly Kings, fill the space completely. These retinue figures are drawn progressively smaller from the bottom of the painting to the top, giving a sense of rising movement. The colours used are mainly white, green and red, with blue and grey used in places. The flesh of the principal image is outlined on a white ground with ink lines of even thickness; the head is painted black and the hair finished in black, with the edges bordered by a malachite-green line. The red outer robe, worn baring the right shoulder, is decorated along its edges with floral patterns for a splendid effect, while its lining is painted blue, forming a strong contrast with the red, and the folds are shaded to render the drapery. The attendant and retinue bodhisattvas are painted in almost the same technique as the principal image. Among the Four Heavenly Kings placed at the four corners of the square composition, the two shown in full figure at the lower left and right edges — Virupaksha on the viewer's left and Virudhaka on the viewer's right — wear armour coloured in red, blue and malachite-green and stand in attendance on grey clouds, presenting a splendid appearance; their faces are shaded with pale brown over white to show contour, and wavy beards are drawn repeatedly in fine, dark ink lines beneath red lips. The ground and sky areas are painted blue, and clouds are placed at the top, bottom and middle of the painting to mark the boundaries between the different groups of figures; the clouds take the form of cumulus patterns, their shading built up with gradations of pale yellow and grey. The painting survives in relatively good condition, and its technique appears to combine traditional methods with elements of modern style. According to its production record, several painters took part under the chief painter Yeonho Bong-ui, and the names of many donors also appear; as an important record of its kind it has been designated a Cultural Heritage Material for preservation and management.

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Where it is

Region

Namhae, Gyeongnam

Designation

Cultural Heritage Material · 문화유산자료