華嚴寺 大雄殿 木 三身佛像의 연구 (The Buddha Triad in Daewoong‐jeon of the Hwaeom‐sa Temple)

서지정보

· 발행기관 : 한국불교미술사학회
· 수록지 정보 : 강좌미술사 / 28호 / 25 ~ 46페이지
· 저자명 : 오진희

초록

화엄사는남녘의지리산에자리하고있다.지리산자락은품이넓은만큼절도많지만그가운데화엄사는신라불교의중심사상인화엄의근본도량으로손꼽히는명찰이다.화엄사의중심불전인 대웅전은 임진왜란으로 모든 전각들이 모두 불타서 폐허가 된 후 팔도도총섭 벽암 각성대선사가 인조 8년(1630년)에서 인조 14년(1636년)에 걸쳐 가장 먼저 중건한 전각이다. 대웅전중건과 함께 내부에는 화려하게 장식해 만든 닫집 아래로 나무로 만든 삼존불을 모셨는데 화엄종의주존인비로자나불을중심으로오른쪽에는석가불을,왼쪽에는노사나불을봉안하여법 ･보･화삼신불을이루고있다. 이삼신불상은보관을쓴노사나불이삼신불의보처불상으로남아있는 경우가 없는 조선후기 불상 가운데 유일하게 알려진 삼신불상으로 크게 중요시 되고 있다.
또한사적기에따르면이삼신불상은17세기에수조각승으로활발하게활동했던청헌,인균,응원등이서로교류해가면서제작한불력넘치는불상조각이다.그러므로이논문에서는화엄사대웅전삼신불상의조성배경,제작에참여한조각승의작품경향,불상의도상과양식적특징등에 대하여 다음과 같이 고찰해 보았다.
첫째 화엄사 사적기를 통해 화엄사 중건에 앞장선 벽암각성과 그의 제자 그리고 화엄사 승려들에의해임진왜란으로폐허가됐던사찰재건이활발하게이루어졌음을알수있었다.둘째조선후기 비로자나불을 주존으로 조성된 불상을 정리해 본 결과 삼신삼세불이 대부분 차지하였으며 지금까지 밝혀진 불상 중 유일하게 주존 비로자나불과 좌 보관형 노사나불 우 석가불상을 배치하여화엄사상을잘보여주고있다.셋째화엄사사적기를통해대웅전삼신불상을조성한조각승청헌, 영이, 인균, 응원각각의작품경향을파악했는데청헌과영이는주로함께불상조성을하였으며, 인균은응원과함께불상조성을하여부드러운양감표현, 불의주름등이상당히유사한것을알수있었다.넷째화엄사삼신불상의도상적특징을파악했는데주존비로자나불과 향좌 석가불상은 반달형 대의와 하체의 층단형 옷주름 표현 등이 청헌과 영이의 작품과 유사하였으며,향우노사나불상은이목구비와불의옷주름,양감등으로보아인균과응원의작품과친연성이 있음을 밝혔다.

영어초록

The Hwaeom‐sa Temple is located on Mt. Jiri in the southern region of Korea.With its extensive ridges, the mountain embraces many mountains but Hwaeom‐sa is a particularly prominent temple counted as the original Buddhist seminary of Hwaeom, the fundamental thought of Shilla Buddhism. Daewoong‐jeon, the main sanctum of the Hwaeom‐sa Temple, was destroyed by fire with all the other buildings in the temple during Japanese invasion in 1592, and was rebuilt by Paldodochongseop Saint Byeokamgakseong during the period from the 8th~14th year of King Injo (1630~1636), earlier than any other temples. With the reconstruction of Daewoong‐jeon, a wooden triad was enshrined under the canopy with splendidly decorated inside. The triad has Birojana Tathagata, the main saint of the Hwaeom Sect, at the center, Shakyamuni Tathagata on the right side, and Rosana Tathagata on the left side, representing the absolute or spiritual body, the body of bliss and the body of incarnation.
The Buddha triad is considered highly important as the only Buddhist statue with crowned Rosana Tathagata who succeeded Shakyamuni among Buddhist statues from the late Chosun Dynasty. In addition, according to the temple record, the Buddha triad was made with the utmost devotion by Cheongheon, Ingyun, Eungwon, etc. who were wood sculptor monks in the 17th century. Therefore, the present study examined the background of the Buddha triad in Daewoong‐jeon of the Hwaeom‐sa Temple, the styles of the sculptor monks participated in the work, and the characteristics of the image and style of the Buddhist statues. The results of this study are as follows.
First, according to Hwaeom‐sa temple records, the temple, which had been ruined by Japanese invasion in 1592, was reconstructed vigorously by Byeokamgakseong, who led the reconstruction, his disciples and Buddhist monks at the Hwaeom‐sa Temple. Second, examining Buddhist statues with Birojana Tathagata as the main figure created during the late Chosun Dynasty, we found that most of the statues are the three honored Buddhas and the Buddhas of the past, present and future, and the triad at the Hwaeom‐sa Temple is the only triad with Birojana Tathagata at the center, crowned Rosana Tathagata on the left and Shakyamuni Tathagata on the right. Third, through Hwaeom‐sa temple records, we examined the styles of Cheongheon, Yeongi, Ingyun and Eungwon, the sculptor monks who erected the Buddha triad in Daewoong‐jeon. Cheongheon and Yeongi worked together in creating Buddhist statues, and Ingyun worked with Eungwon, showing quite similar patterns in soft voluminous expression, the drapes of robes, etc.
Fourth, as to the iconographic characteristics of the Buddha triad at the Hwaeom‐sa Temple, the main figure Birojana Tathagata and Shakyamuni Tathagata facing left have semicircular robes and layered expression of drapes on the lower body, which are similar to the style of the works of Cheongheon and Yeongi, and the statue of Rosana Tathagata facing right was found similar to the style of the works of Ingyun and Eungwon considering its face, the drapes of the robes and the volume.

참고자료

· 없음