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초록

This paper comprehensively examines the distribution, typology, production, and distribution channels of “Stations of the Cross” art installed in Korean Catholic churches built from the late 19th century to the early 20th century (1890s to 1950s). First, the distribution of “Stations of the Cross” art was identified through field research. This art was categorized into two types, printed icons (paintings) and reliefs, and their formal and iconographic characteristics were analyzed. Furthermore, to trace the installation process and chronology, archival documents from the Jeonju Diocese were utilized to identify the priests responsible for installing “Stations of the Cross” in parishes and chapels within the diocese, as well as the dates of their installation. This approach concretizes the context of their installation and composition. The analysis reveals that the “Stations of the Cross” in churches during this period primarily consisted of printed engravings and reliefs with multilingual captions produced in Germany, Italy, and France. In the case of the prints, the numbering of the 14 stations is notated using both Roman numerals (I, II, III) and Chinese characters (壹, 貳, 參). The Chinese character notation suggests they may have been produced by the Tushanwan Crafts Academy in Shanghai. German-made iconography reveals the active export structure of religious prints through the numbering and multilingual titles in front of the work. The relief-type “Stations of the Cross” is classified into four types based on its form, and a change was confirmed from the small wooden reliefs produced in early France to the oval, pointed arch, and rectangular plaster reliefs of the 1930s to 1950s. Through a survey of churches across the country, we investigated the existing “Stations of the Cross: art, comprehensively examining its distribution status, types, production, and distribution channels, and re-examined the history and value of its creation as a sacred object and work of art installed in Korean churches.

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