Portrait of Priest Pyeongwondang

After the death of a Buddhist patriarch, his portrait was often painted to pay tribute to him. These portraits, called jinyeong, also symbolized the long history of succession within the sect, thus strengthening the legitimacy and authority among followers. Often, the portraits themselves became subjects of worship. Many temples housed portraits of the first patriarch of the different schools of Buddhism, well-known monks familiar with the doctrinal studies of Buddhism, and monks who benefited the country. The inscription in the upper left corner of this painting gives the name of the subject, Pyeongweondang Jinyeong. This is the only known portrait of this Buddhist patriarch, and his deeds and accomplishments are as yet unidentified. Praise for Pyeongweondang might once have been written in the red rectangle at the top right; however, the inscription is no longer legible. Typical of the genre, the floor mat and wall create a divided background. Pyeongweondang, facing left, sits in a low chair. In his left hand, he holds a Buddhist wooden staff (Sanskrit: khakkhara) and, in his right hand, he holds Buddhist prayer beads (det. 1). On the low table in front of him are ten sutras, two scrolls, and writing implements including a brush, ink stone, and ink (det. 2). A transparent lidded container sits atop one stack of sutras. Pyeongweondang’s face is unwrinkled and his lips are pursed (det. 3). The artist used a complex painting technique: he first applied white paint to the back of the silk for the face, and then thinly applied an ocher hue from the front. Most of the original color has since been lost. It appears that the robe’s white knot, below the patriarch’s right shoulder, was repainted. The overall composition and color scheme, as well as the subject’s pose, indicate that the portrait was created at the end of the nineteenth century. Read more (Curator Notes)