完州 松廣寺 나한전의 제 존상과 조각승 (Sculptures Enshrined in the Nahan-jeon Hall of Songgwang-sa Temple in Wanju and Monk Sculptors)

서지정보

· 발행기관 : 보조사상연구원
· 수록지 정보 : 보조사상 / 47호 / 217 ~ 268페이지
· 저자명 : 송은석

초록

완주 송광사 羅漢殿에 봉안된 삼세불, 십육나한, 오백나한, 제석천, 使者, 용녀, 인왕 등 500여 구의 존상들은 무염 등 30여 명의 조각승들에 의하여 제작되어 1656년 7월 3일에 점안된 불상들임이 석가상 조성발원문에 의하여 밝혀졌다. 수백 구의 불상들이 수십 명의 조각가에 의하여 제작되었기 때문에, 각 불상들은 조금씩의 양식적 차이를 드러내고 있는데, 이는 각 존상들이 여러 조각승들의 그룹에 의하여 각각 다른 양식으로 조각된 것으로 판단되는 근거가 된다. 본고에서는 조성발원문들에 기록된 조각승들의 작풍에 기초하여 각 불상들의 양식을 분석하여 삼세불상과 십육나한상의 일부 존상에 대하여 실제 조각한 것으로 판단되는 조각승을 비정하였다.
송광사 나한전 존상들 중 석가상과 좌협시보살상은 무염파 조각승들에 의하여 제작되었고, 우협시보살상과 제1존자상은 단응에 의하여 조성되었으며, 제3존자상은 법령파와 연관이 있을 것으로 보이는 성순에 의해 조성된 것으로 판단되었다. 또한 나한전 불사는 수조각승인 무염을 중심으로 한 무염파 조각승들에 의해 주도되었다기 보다는 無染, 丹應, 天信, 思印 등 여러 유파 조각승들의 참여에 의한 ‘조각승 유파의 합동 작업’ 성격이 강하게 나타난 불사로 판단되었다. 이처럼 여러 유파 출신의 조각승들이 함께 작업할 수 있었던 것은 碧巖覺性같은 영향력 있는 승려가 참여한 불사였기 때문으로 판단된다.

영어초록

A written prayer engraved on the Śākyamuni statue enshrined in Songgwang-sa Temple reveals that the 500 or more statues of the Buddhas of the Three Periods (Kāsyapa, Śākyamuni, and Maitreya), Sixteen Arhats, Five Hundred Arhats, Indras, Messengers, Dragon Girls and Generals enshrined in Nahan-jeon Hall of Songgwang-sa Temple in Wanju were carved by a group of thirty monk-sculptors including Muyeom and completed in 1656. The involvement of such a large group of artists in the of hundreds of sculptural works inevitably resulted in the display of slight differences in sculptural style. In this study the style is analyzed on the basis of the detailed carving techniques ussed by the monk-sculptors recorded in the written prayer, which identifies some of the artists who participated in the carving of the Buddha Triad and the Sixteen Arhats.
According to the analyses of the religious statues in Nahan-jeon Hall of Songgwang-sa Temple, the principal Buddha, Śākyamuni, and his Left Acolyte were carved by sculptors of the Muyeom School, the Right Acolyte and the First Venerable Monk by Daneung, and the Third Venerable Monk by Seongsun, who is believed to have been related with the Beopryeong School. The study also shows that the project to create and enshrine religious statues in Nahan-jeon Hall was conducted not by sculptors of the Muyeom School alone but rather as a collaborative effort involving several art schools led by Muyeom, Daneung, Cheonsin, and Sain among others. It is probable that the collaboration between artists from different schools was made possible by the participation of Byeogam Gakseong, a highly influential monk at that time.
A closer look at the statues in connection with the written prayer suggests that Dogyun belonged to the Muyeom School, while Gyehun and Hyeonjun, who occupying a higher position than the head monk-sculptor, were closely related with Muyeom. The two names, Sain (思印) and Sain (思忍), refer to two different artists although they are pronounced exactly the same way in Korean, as both appear in the written prayer. It is probable that the first, Sain (思印), was a member of the Hyeonjin School, while the second, Sain (思忍), was a member of the Suyeon School. Daneung, the eleventh name on the list of thirty sculptors, was probably given the task of carving the Right Acolyte Bodhisattva in the Buddha Triad because he was a highly skilled sculptor. An analysis of the style of his work shows that he had established his own artistic style by the time he participated in the Nahan-jeon project. The list of participants in the project (contained in the written prayer) includes Sameung and Jisu of the Seungil School and Cheonsin of the Eungwon-Ingyun School, but little is known about the part they played in the project.

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