朝鮮 後期 彫刻僧과 佛像樣式의 변천 (Buddhist Sculptor-Monks of Late Joseon and Their Stylistic Evolution)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 261권 / 261호 / 41 ~ 75페이지
· 저자명 : 최선일

초록

본 논문은 조선후기(1600-1910)에 사찰에 봉안되는 불상을 제작한 조각승과 그 계보를 중심으로 개별 조각승의 불상양식과 변화과정에 관한 연구이다.
조선후기 불교조각은 조각승의 활동과 불상 양식을 바탕으로 네 시기로 구분할 수 있다. 성립기는 임진왜란이 끝난 후 사찰의 중창과 중수로 인하여 불상의 제작이 1600년부터 서서히 이루어지다가 1620년대 중반부터 1640년 전반까지 명산대찰의 주요 전각이 건립되면서 3m-5m의 대형소조불상이 제작되었다. 이 시기 활동한 대표적인 조각승은 玄眞, 守衍, 淸虛, 淸憲, 無染 등으로 다양한 형태의 불상을 제작한 특징이 있다. 전성기는 1651년부터 1740년까지로, 조각승들은 名山大刹의 부속건물인 冥府殿, 靈山殿, 八相殿 등과 지역에 대표적인 사찰에 100㎝ 정도의 중형 목조불상을 6-9명의 조각승이 제작하였다. 이 시기부터 같은 계보에 속하는 조각승들은 신체비례와 대의 표현 등에서 동일한 형태의 불상을 제작하였다. 이 시기를 대표하는 조각승은 17세기 중반의 無染, 雲惠, 勝日, 熙藏, 17세기 후반의 色難과 丹應, 18세기 전반의 進悅과 夏天 등이다. 정체기는 1741년부터 1800년까지로, 18세기 중반부터 불상 제작의 수요가 줄어들면서 불상의 중수와 개금이 늘어나게 되고, 18세기 후반에는 불상의 중수․개금을 불화승들이 주도적으로 하게 되면서 조각승의 존립 기반이 붕괴되는 시기이다. 이 시기를 대표적인 조각승은 尙淨, 戒初, 封玹, 戒心 등이다. 쇠퇴기는 1801부터 1910년까지로, 불상 제작이 거의 이루어지지 않아 조각승의 존립이 어렵게 되고, 불화승이 불상의 제작까지 주도하면서 조각기술이 급격히 쇠퇴하는 시기이다.
이들 조선후기 조각승의 계보는 玄眞의 계보(玄眞→淸憲, 勝一→ 熙藏→寶海), 守衍의 계보(太顚→守衍→性玉, 靈哲→雲慧, 敬琳→印性, 三忍), 淸虛의 계보(元悟 →覺敏→淸虛→法玄, 賢允), 無染의 계보(幸思→無染→海心, 道祐, 性修, 敬性 → 雪坦과 丹應, 卓密), 色難의 계보(色難→忠玉, 楚卞, 一機→夏天), 進悅의 계보(自修→性諶→進悅→太元, 尙淨→戒初, 奉絃) 등으로 나눌 수 있다. 이 조각승들이 만든 목조불상은 대부분은 동일한 형태에 얼굴 표현이나 착의법 등이 약간 다를 정도로 표준화 된 불상을 만드는 것이 조선후기 불상의 특징이다. 또한 전국을 무대로 조각승들이 활동하면서 지역적인 특징보다는 조각승 계보간의 불상의 형태가 차이를 보인다.
아직까지 조사된 문헌기록의 한계로 개별 조각승의 生沒年代나 交流關係 등을 밝힐 수 없었지만, 이러한 조각승의 활동과 불상 양식의 접근을 통하여 이제까지 막연하게 추정되어 왔던 무기년명 불상의 제작 시기와 조각승을 추정한 것은 한국 불교조각사에서 조선후기 불교조각이 차지하는 비중이 작지 않기 때문이다.

영어초록

This paper looks into the generations of sculptor-monks of late Joseon (1600-1910), who involved in the creation of images in Buddhist temples. It is both an attempt to reconstruct the lineages linking sculptor-monks of this period and retrace their individual evolution in their sculptural style.
Four different periods may be discerned in the Buddhist sculpture of the late Joseon, according to the prominent sculptor-monks and prevailing sculptural style. The first period begins in the 1600s, corresponding to the first wave of reconstruction, in the aftermath of the Hideyoshi invasion of 1592, repairing and rebuilding Buddhist temples ravaged by war, and sculpting new Buddha statues to replace those that had been lost or destroyed. The reconstruction effort gradually gained momentum, and many major temples came to completion across the country between the mid-1620s and the early 1640s. This was accompanied by the creation of large clay images of the Buddha standing 3-5 m tall. Prominent sculptor-monks from this period included Hyeonjin, Suyeon, Cheongheo, Cheongheon and Muyeom. This period’s production of Buddhist sculpture was characterized by a high degree of variety.
The second period, corresponding to the heyday of late-Joseon Buddhist sculpture, began in 1651 and ended in 1740. For a mid-size sculpture in the range of 100 cm in height, sculptor-monks generally worked in teams, which would typically consist of six to nine members. They worked in minor worshipping halls of large temples, such as Myeongbujeon, Yeongsanjeonl or Palsangjeon, and major regional temples. This period saw the emergence of distinct sculptural traditions, and there was a consistent and homogenous pattern among works produced by sculptor-monks belonging to the same tradition, both in terms of bodily proportions and the depiction of garments and drapery. Among the representative sculptor-monks of this period were Muyeom, Unhye, Seungil and Huijang who enjoyed notoriety in the mid-17th century; Saengnan and Daneung in the late 17th century; and Jinyeol and Hacheon in the early 18th century.
Their heyday was followed by a period of stagnancy, starting around 1741 and lasting until 1800. From the mid-18th century, the demand for Buddhist sculpture gradually ebbed, with a commensurate increase in demand for repair and re-gilding toward the same period. From the late 18th century, painter-monks took on most repair and re-gilding work done to Buddhist sculptures, making sculptor-monks largely irrelevant. Well-known sculptor-monks from this period include Sangjeong, Gyecho, Bonghyeon and Gyesim.
The period of decline is situated between 1801 and 1910. During this time, there was a sharp drop in the overall production of Buddhist sculptures, and even the very few sculptures made were supervised by painter-monks, further eroding the sculptor-monks’ standing, and Buddhist sculptural art of Joseon took a big step backward as a consequence.
Sculptor-monks of late Joseon belonged to several different artistic lineages: the tra dition founded by Hyeonjin (Hyeonjin – Cheongheon and Seungil – Huijang – Bohae); the lineage represented by Suyeon (Taejeon – Suyeon – Seongok and Yeongcheol – Unhye and Gyeongnim – Inseong and Samin); the lineage of Cheongheo (Wono – Gakmae – Cheongheo – Beophyeon and Hyeonzon); the Muyeom lineage (Sinsa – Muyeom – Haesim, Dou, Seongu, and Gyeongseong – Seoltan, Daneung, and Chosim); the lineage begun with Saengnan (Saengnan – Chungok, Chobyeon, and Ilgi – Hacheon); and the Jinyeol lineage (Jasu – Seongsim – Jinyeol – Taewon and Sangjaeng – Gyecho and Bonghyeon). These traditions, however, were hardly distinct from each other, concerning wooden sculpture. Most wooden Buddha statues from late Joseon resembled each other in their overall style as well as facial expressions and showed very little individual variations, except for slight differences in garment style. Meanwhile, as renowned sculptor-monks were commissioned to carry out projects beyond their local regions, stylistic varieties were explainable more by schools of sculpture than regional differences.
Due to the limited documentation, the scope of this study does not include biographical specifics of sculptor monks of late Joseon or relationships of exchange that may have existed between them. However, by looking into Buddhist sculptures of late Joseon by way of sculptor-monks, their creators, and the stylistic traditions to which they belonged, this study was able to more precisely date many undated works from this important period in the history of Korean Buddhist sculpture.

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