왕흥사 목탑의 복원 연구 (The Study of Restoring Wangheungsa Wooden Pagoda)

서지정보

· 발행기관 : 한국건축역사학회
· 수록지 정보 : 건축역사연구 / 19권 / 3호 / 7 ~ 30페이지
· 저자명 : 김경표, 성상모

초록

王興寺 목탑지는 백제시대 목탑지의 전형적인 형식을 보여주고 있어 백제 목탑의 형식과 유형을 연구하는 데 있어서 중요한 유구이다. 특히 心礎石의 설치형식은 새로운 기법을 보여주고 있다. 본고는 목탑지에 남아 있는 유구를 근거로 백제시대의 왕흥사 목탑을 복원하는 데 그 목적을 두었다. 그동안 목탑에 관한 복원연구는 황룡사 목탑을 기준으로 하여 상당수 이루어져 왔다. 반면에 백제의 木塔은 복원설계 유례가 적은 실정이다. 본고에서는 왕흥사 목탑에 대한 학문적 考證을 거쳐 설계의도, 설계과정 등에 대해 가능한 한 명료하게 정돈해 나가고자 하였다.
연구의 진행은 백제시대 목탑 관련 유구의 검토, 현존 목탑 遺構 등의 검토를 거쳐 당 시대의 목탑조영기술을 분석한 후, 왕흥사 목탑지의 현황 파악, 목탑의 성격 규명, 배치형식 설정, 尺度 설정 등을 거쳐 목탑의 규모를 추정하고 各部 설계를 하고자 하였다. 궁극적으로 왕흥사의 복원 목탑이 백제시대 목탑으로서 當時의 기술과 양식 등에 합당하도록 하였다. 기본적으로는 현재까지의 왕흥사지의 발굴 현황에서 추정 가능한 조건을 1차적인 기준으로 하여 왕흥사 목탑을 복원 설계하였다.
왕흥사의 목탑은 백제 융성기의 木造塔으로 설계하였다. 평면은 3칸 x 3칸으로 하여 3층탑으로 설계하였다. 이것은 동서 회랑 간의 간격, 어칸의 크기, 水路로 進入 時 築臺 위에 조망되는 경관 등을 고려하여 높이를 설정하였다. 기본적으로 목구조 형식은 고구려 계통에 그 연원을 두었으나 중국의 남방식, 일본의 古代 목조탑 기법 등과의 연계성을 염두에 두었다.
心柱의 형식은 처음 立柱 時에는 埋立柱를 사용한 것으로 보았다. 목탑의 실제 공사에서는 地上式 心柱를 세운 것으로 보았다. 지하 心礎石을 받침으로 하는 埋立柱를 사용하지 않은 이유는 心礎石의 偏心 荷重을 고려하고, 심초석 상부의 80cm x 80cm 角의 별도로 조성된 황색점토와 沙質점토로 반복되는 版築의 상태 등을 고려하였기 때문이다. 그리하여 실제 설계에서는 地上式으로 心柱를 세운 것으로 보았다. 처음 創建時에는 埋立柱로 하였으나 지하 기둥 部材가 부식된 후 다시 심주를 설치하는 경우도 상정할 수 있다. 그러나 이 경우에는 版築技法이 當時代의 기법일 수 없으며, 80cm x 80cm 각도로 채워질 수 없다. 그러므로 처음 목탑 공사 時 심초석 위에 반듯하게 版築技法으로 다지고 그 상부에 다시 초석을 놓아 地上式 心柱를 세운 것으로 보았다.

영어초록

The form of the Wangheungsa Temple’s wooden pagoda site is that of the traditional form of the wooden pagodas constructed during the Baekjae Period. Likewise, it is an important ruin for conducting research on the form and type of the wooden pagodas constructed during the Baekjae Period. In particular, the method used for the installation of the central pillar’s cornerstone is a new technique. The purpose of this research is to restore the ruin of the Wangheungsa Temple’s wooden pagoda of the Baekjae Period that remains at the Wangheungsa Temple’s wooden pagoda site. Until now, research conducted on the wooden pagoda took place mostly centered on the Hwangryongsa Temple’s wooden pagoda. Meanwhile, the reality concerning Baekjae’s wooden pagoda is one in which there were not many parallel cases pertain to the design for restoration. This research paper wants to conduct academic examination of the Wangheungsa Temple’s wooden pagoda to organize the intention of design and design process in a simple manner.
This research included review of the Baekjae Period’s wooden pagoda related ruins and the review of the existing wooden pagoda ruin to analyze the wooden pagoda construction technique of the era. Then, current status of the Wangheungsa Temple’s wooden pagoda site is identified to define the characteristics of the wooden pagoda, and to set up the layout format and the measure to estimate the size of the wooden pagoda in order to design each part. Ultimately, techniques and formats used for the restoration of the wooden pagoda were aligned with the wooden pagoda of the Baekjae Period. Basically, conditions that can be traced from the current status of the Wangheungsa Temple site excavation using the primary standards as the standard.
Wangheungsa Temple’s wooden pagoda was designed into the wooden pagoda of the Baekjae’s prosperity phase. The plane was formed into 3x3 compartments to design into three tier pagoda. The height was decided by factoring in the distance between the East-West corridors, size of the compartment in the middle, and the view that is visible from above the terrace when entering into the waterway. Basically, the origin of the wooden structure format is based on the Goguryeo style, but also the linkage with China’s southern regional styles and Japan’s ancient wooden pagoda methods was factored in.
As for the format of the central pillar, it looks as if the column that was erected after digging the ground was used when setting up the columns in the beginning. During the actual construction work of the wooden pagoda, central pillar looks as if it was erected by setting up the cornerstone on the ground. The reason that the reclaimed part of pillar that use the underground central cornerstone as the support was not utilized, was because the Eccentric Load of the central pillar’s cornerstone was factored in the state of the layers of soil piled up one layer at a time that is repeated with the yellow clay and sandy clay and the yellow clay that were formed separately with the 80cm x 80cm angle at the upper part of the central pillar’s cornerstone was factored in as well. Thus, it was presumed that the central pillar was erected in the actual design using the ground style format. It is possible to presume the cases in which the reclaimed part of pillar were used when constructed for the first time, but in which central pillar was installed later on, after the supplementary materials of the underground column is corroded. In this case, however, technique in which soil is piled up one layer at a time to lay down the foundation of a building structure cannot be the method used in that period, and the reclamation cannot fill up using the 80cm x 80cm angle. Thus, it was presumed that the layers of soil for building structure’s foundation was solidified properly on top of the central pillar’s cornerstone when the first wooden pagoda construction work was taking place, and that the ground style central pillar was erected on its upper part by placing the cornerstone once again.
Wangheungsa Temple’s wooden pagoda is significant from the structure development aspect of the Korean wooden pagodas along with the Hwangryongsa Temple’s wooden pagoda. Wangheungsa Temple’s wooden pagoda construction technique which was developed during the prosperity phase of the Baekjae Period is presumed to have served as a role model for the construction of the Iksan Mireuksa Temple’s wooden pagoda and Hwangryongsa Temple’s wooden pagoda. With the plan to complement the work further by excavating more, the basic wooden pagoda model was set up for this research.
Wangheungsa Temple’s wooden pagoda was constructed as at the Baekjae Kingdom wide initiative, and it was the starting point for the construction of superb pagoda using state of the art construction techniques of the era during the Baekjae’s prosperous years, amidst the utmost interest of all the Baekjae populace. Starting out from its inherent nature of enshrining Sakyamuni’s ashes, it served as the model that represented the unity of all the Baekjae populace and the spirit of the Baekjae people. It interpreted these in the most mature manner on the Korean peninsula at the time.

참고자료

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