National Museum of Korea Unveils Three Modern Buddhist Paintings from the 'Lee Geonhee Collection'

Exhibition of 19th-20th Century Buddhist Paintings and Sketches
23 Works, 37 Pieces on Display Until July 21

Three modern Buddhist paintings donated through the 2021 'Lee Kun-hee Collection' will be publicly exhibited for the first time.

The National Museum of Korea (Director Yoon Sung-yong) announced on the 20th that it will showcase a total of 37 pieces across 23 items of 19th to 20th-century Buddhist paintings and sketches in the Buddhist Painting Room on the 2nd floor of the permanent exhibition hall until July 21.

Amitabha Buddha Preaching in the Pure Land Banquet Joseon Dynasty, circa 19th-20th century Color on silk 169.0×199.0cm
[Photo by National Museum of Korea]

Modern Buddhist paintings from the late 19th century to the early 20th century retain the traditional Buddhist painting techniques of the Joseon Dynasty while also showing unique expressive styles influenced by Western painting techniques newly introduced during this period.

The three Buddhist paintings revealed for the first time through this exhibition?▲Jeoseokcheon (Indra) ▲Gwaneumbosal (Avalokitesvara Bodhisattva) compassionately saving sentient beings ▲and Buddhist painting sketches?were donated through the 2021 'Lee Kun-hee Collection.'

This exhibition introduces works by representative Buddhist monk painters active from the 19th to the 20th century. Notably, Gosan Chukyeon (古山竺衍, active late 19th century to early 20th century) stayed at Yujeomsa Temple in Geumgangsan and left works nationwide.

In Chukyeon's work 'Amitabha Buddha Preaching in the Pure Land,' the characters’ facial features, wrinkles, and body volume are rendered with Western shading techniques to express three-dimensionality. Additionally, in 'Portrait of Great Monk Ssangwoldang,' Chukyeon inscribed his pen name 'Hyesan (蕙山)' on the scroll within the painting.

It is rare in traditional Buddhist painting production for monk painters to leave their personal names on their works, as seen in literati paintings. This reflects Chukyeon's self-awareness as an artistic creator and his expression of individuality despite being a monk artisan.

Underpainting of a Mural 20th Century Ink on Paper 45.0×71.0cm
[Photo by National Museum of Korea]

The exhibition also displays sketches that offer a glimpse into the working process of the monk painters. The 'Figure Sketch' is by Geumho Yakyo (錦湖若效), a monk painter from the Magoksa school, with the inscription "Yakyo made this sketch" at the top of the image.

Unlike Buddhist painting sketches that clearly outline lines to be traced by placing fabric over the base cloth, this drawing shows freely drawn brush lines with a fine brush, suggesting it was made for everyday practice or for teaching disciples.

Also presented is a meticulously drawn sketch used for actual production. The 'Sketch of Ksitigarbha Bodhisattva Governing Hell' is by Bogyeong Bohyeon (寶鏡普賢, 1890?1979), who stayed at Gyeongguksa Temple in Seoul for over 60 years creating Buddhist statues and paintings.

This sketch includes detailed notes on which colors to apply to each part, such as 'white (白),' 'yellow (黃),' and 'crimson,' to guide subsequent stages of work. It matches in size and composition the 'Embroidered Ksitigarbha Bodhisattva Painting at Jijangam' created in 1917, indicating it was drawn as a sketch for an embroidered Buddhist painting.

Gwaneumbosal Dosun, who saves sentient beings out of compassion, Joseon 1854, color on silk, 169.0×110.0cm
Photo by National Museum of Korea

The 2021 donation by the late Chairman Lee Kun-hee, revealed in this exhibition, also draws attention.

'Jeoseokcheon (Indra)' was painted in 1843 by Cheon-yeo (天如, 1794?1878), a leading monk painter of the 19th century. 'Gwaneumbosal Compassionately Saving Sentient Beings' depicts Suwol Gwaneum seated peacefully on a rock rising from the waves, painted by Dosun (道詢, active mid-19th century) who worked in the Jeolla region.

The 'Buddhist Painting Sketch' densely depicts subordinate spirits such as children, jailers, and magistrates related to the underworld in ink on a small canvas. It appears to be a study for paintings like the Ten Kings, Ksitigarbha Bodhisattva, or Amrita, offering insight into the everyday work of modern Buddhist painters.

A National Museum of Korea official stated, "From the late 19th century to the early 20th century, society underwent rapid changes, and the status and environment surrounding Buddhism and Buddhist art also transformed. Modern Buddhist paintings inherited the traditional Buddhist art production of the Joseon Dynasty while actively incorporating new elements to adapt to changing circumstances. We hope visitors will experience the various efforts made during this period to carry Buddhist art into the present day through this exhibition."

This content was produced with the assistance of AI translation services.