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Hanging Painting of Yongmunsa Temple, Yecheon (The Vulture Peak Assembly)

예천 용문사 영산회 괘불탱 ( 醴泉 龍門寺 靈山會 掛佛幀 )

Heritage Search Detail
Classification Treasure
Name of Cultural Properties Hanging Painting of Yongmunsa Temple, Yecheon (The Vulture Peak Assembly)
Quantity 1
Designated Date 2005.09.06
Age 1705
Address Yongmunsa Temple 285-30, Yongmunsa-gil, Yongmun-myeon, Yecheon-gun, Gyeongsangbuk-do

This hanging Buddhist painting in the ojondo (painting consisting of a main Buddha flanked by four Buddhist figures) style depicts three standing Buddhist figures, with Mahākāśyapa and Ananda positioned on each side of the main Buddha’s head. The main Buddha is depicted wearing a red tonggyeon (a robe covering both shoulders) and a grayish blue undergarment. The Buddha’s head alone measures 180 cm in length, while its mandorla measures 273 cm across, and his body fills the huge canvas, which measures over 10 m in height. The Buddha’s red robe is decorated with regular circular patterns containing phoenix, flower, lattice and lotus flower designs, while his undergarment is adorned with white lotus flower patterns. The main Buddha is flanked by two Buddhist figures, Mahākāśyapa and Ananda, positioned to the left and right of his head. Apart from the differences in their hand gestures and their divine garment, the two figures exhibit almost the same appearance, particularly in the way they are standing with their legs spread wide apart with their bodies turned toward the Buddha, in their height and form, the jeweled crown on their heads, and the objects they are holding. The background to the three figures is filled with soft yellow, red, blue and green clouds against a navy blue sky that create an illusion of depth and space on a flat surface. A prayer for the health of the royal family is written in the lower middle section of the painting, and a record of the painting remains along the bottom border. Produced in 1705, this painting ranks among the earliest known examples of hanging paintings. It exhibits the typical characteristics of Buddhist paintings made during the transition period from the 17th century to the 18th century, including the Buddha’s large, round face, which conveys an air of dignity, and the slightly raised shoulders. The painting holds considerable value for the study of Buddhist paintings of the Joseon Dynasty as it presents a new Buddhist image, with the Buddha rather than a Bodhisattva holding an object (lotus flower) in his hands.