용문사 목불상의 작풍과 그 영향

심주완 한국불교미술사학회 2006 강좌미술사 Vol.26 No.2

오대산 상원사 문수전 목선재동자입상 연구

심주완 동방문화대학원대학교 불교문예연구소 2022 불교문예연구 Vol.- No.20

In Munsujeon Hall of Sangwonsa Temple in Odaesan Mountain, three Wooden standing Child statues are placed between a Wooden Seated Child Manjusri Bodhisattva as National Treasure and a Wooden Seated Manjusri Bodhisattva as Treasure. The centrally placed Child statue is a Wooden Standing Sudhana in Sangwonsa Temple. The Statue is Sudhana and is accompanied by a Wooden Seated Child Manjusri Bodhisattva. This Statue follows the figure of Sudhana Statue combined with Paintings of Water-moon Avalokiteshvara Bodhisattva and Statue of Avalokitesvara Bodhisattva in the early Goryeo and Joseon Dynasty, and is the same style as Wooden Seated Manjusri Bodhisattva produced in 1466. The Sudhana Statue. This Statue is set in the Avatamska Sutra(華嚴經) Ipbeopgyepum(入法界品), and assists Statue of Manjusri Bodhisattva on a lion and Samantabhadra Bodhisattva on an elephan on Odaesan Mountain of the Tang Dynasty in the 8th and 9th centuries. Sudhana Statue appears next to the Water-moon Avalokiteshvara Bodhisattva Statue in Liao Dynasty and Northern Song Dynasty, along with the popularity of a picture of Sudhana making a pilgrimage in search of truth(善財童子求法圖), and was placed next to the Manjusri Bodhisattva due to the development of the Mount Wutai Manjusri Belie. In China and Japan, there are several cases of Sudhana Statue next to the Manjusri Bodhisattva Statue, but Korea is unknown. This Statue is significant in that it is the first and oldest work of Sudhana Statue next to the Manjusri Bodhisattva Statue, the best work of the time produced by the royal family, and it is a work that shows the timing of production. Sudhana Statue is likely to have emerged from the Mount Wutai Manjusri Belie. 오대산 상원사 문수전에는 국보 동자문수보살상과 보물 문수보살상 사이에 3존의 목조 동자입상 3존 배치되어 있다. 중앙에 배치된 동자상이 상원사 목선재동자입상(이하 상원사상)이다. 상원사상은 선재동자이며, 동자문수보살상의 협시로 추정된다. 상원사상은 고려・조선 초의 수월관음도 및 관음보살상과 결합된 선재동자상의 도상을 따르고 있고, 1466년에 제작된 동자문수보살좌상과 동일한 양식이다. 선재동자상은 『화엄경』 「입법계품」의 배경으로, 8-9세기 당대 오대산 기사문수・기상보현보살상의 협시로 등장한다. 선재동자상은 선재동자구법도의 유행과 더불어 요와 북송대에 수월관음상의 협시로 등장하고, 오대산 문수신앙의 발전으로 문수보살의 협시로 정착하였다. 중국과 일본에은 문수보살상의 협시상으로 여러 사례가 전해지고 있지만, 우리나라는 알려진 바가 없다. 상원사상은 동자문수보살좌상의 우협시에 배치되고, 2존의 동자상은 목문수보살좌상의 좌우협시일 가능성이 높다. 2존의 동자상는 문수보살상의 발원문에 등장하는 남순동자와 선재동자로 추정된다. 상원사상은 문수보살상의 협시로 조합을 이룬 첫사례이자 최고의 작품이며, 왕실에서 발원하여 당대 최고의 작가에 의해 제작된 예술성이 뛰어난 작품으로 조성 연대가 추론되는 기년작이라는 점에서 의의가 있다. 선재동자상은 오대산 신앙에서 등장했을 가능성이 높다.

흥천사 극락보전 목조 아미타불상과 대세지보살상 연구

심주완 한국불교미술사학회 2019 강좌미술사 Vol.53 No.-

This paper studied the sculptural meaning of the wooden Amita Buddha statue and Mahasibamaprata Bodhisattva statue enshrined in the Architecture of Geukrakbojeon(極樂寶 殿) Hall of Heungcheonsa Temple in Seoul. Although the wooden seated Amita Buddha statue is small and medium-sized, it is a Buddha statue that is majestic, vibrant and refined. Looking at the paintings and stylistic features, the statue is presumed to be in the early 17th century, shortly after the Japanese invasion of Korea. The statue is regarded as one of the representative works created by Buddhist monk sculptor Gakmin and Gakmin School. This Buddha statue was created by a monk sculptor Gakmin, which was earlier than a wooden statue of the Three Buddha of the Donghaksa Temple of Gongju in 1606. This Buddha statue is regarded as the earliest of the works of the Gakmin school. The study provided another opportunity to check the genealogy leading to a monk sculptor Seok-oon – Gakmin – Haengsa. The statue is believed to have been enshrined around the 19th century in Ojeongsa Temple in Mungyeong. The name of the statue is likely to be the Medicine Buddha enshrined on the left side of the Three Buddhas. The wooden Mahasibamapratata Bodhisattva statue is the largest of the three statues in the Architecture of Geukrakbojeon Hall of Heungcheonsa Temple. This Bodhisattva statue has a narrow, long upper body, but has a sense of stability with a large lower body. This Bodhisattva statue is regarded as a work of elegant tension and refined taste. This Bodhisattva statue is estimated to have been created in the second quarter to third quarter of the 17th century by analyzing the drawings and stylistic features. The Bodhisattva statue was discovered to resemble the 1648 wooden Ksitigarbha Bodhisattva Statues in the Architecture of musageon(無私殿) of Heungguksa Temple, which was made by Buddhist monk sculptor Samin. The name of the statue has long been known as Mahasibamaprata Bodhisattva, which is more likely academically to be the Avalokitesvara Bodhisattva, and also to be Manjusri or Maitreya Bodhisattva. 서울 흥천사 극락보전에 봉안된 목조 아미타불상과 대세지보살상에 대하여 조각사적 의미를 밝혀보았다. 흥천사 목아미타불좌상은 중소형의 규모이지만 장대하면서 활력이 넘치고 세련미가 돋보이는 불상이다. 이 불상은 도상과 양식적 특징을 살펴 임란직후인 17세기 초로 편년하였다. 조각승 각민파가 조성한 대표작으로 평가되며, 각민에 의해 조성된 1606년 공주 동학사 대웅전 목삼세불좌상 보다 앞선 양식으로 각민파의 사례 중에 가장 이른 시기로 편년되어 그 의미가 크다. 이를 통해 석준-각민-행사로 이어지는 계보를 다시 한 번 확인하는 계기가 되었다. 원 봉안처는 19세기 경 문경 오정사에서 이운한 것으로 존명은 석가삼세불 혹은 비로자나삼세불의 좌존 약사불일 가능성 높다. 그러나 약사불 뿐만 아니라 아미타불, 다보불, 미륵불 등으로도 해석이 가능하기 때문에 사중에서 신앙하는 아미타불로 명명해도 문제가 없음을 밝혔다. 흥천사 극락보전 목대세지보살좌상은 극락보전 삼존상 중에서 가장 규모가 큰 상으로 어깨가 좁고 세장한 상체에 큼지막한 하체로 안정감을 유지하고 있는 보살상으로 적정한 긴장감과 정제된 미감으로 품격이 느껴지는 작품으로 평가하였다. 이 보살상은 도상과 양식적 특징을 통해 17세기 2/4~3/4분기로 편년하였다. 17세기 전반기 신체 비례의 영향 아래 조각승 삼인이 조성한 1648년 흥국사 무사전 목지장보살좌상 등과 유사함을 밝혀 보았다. 존명은 현재 오랫동안 사중에서 대세지보살로 명명되고 있는데 학술적으로 관음보살일 가능성이 높고 문수보살, 미륵보살일 가능성도 제시하였다.

은유의 은폐와 부각의 변화: 신조어 ‘-각’과 ‘불금’을 중심으로

심주완,최영주 대한언어학회 2018 언어학 Vol.26 No.2

In a metaphorical mapping between source and target domains, not all of the elements of the domains participate in the mapping. Some elements of the source domain are highlighted while others are hidden. Lakoff and Johnson (1980) call this metaphorical highlighting and hiding. This paper explores how the metaphorical highlighting and hiding of the new affixes -kak 'exact fit' and pwul- 'passionate' change depending on which metaphors the expressions occur with. The development of the new meaning 'exact fit' from the original meaning of -kak 'angle' demonstrates that the sharpness of angles which is highlighted in the metaphor RELATIONSHIP IS FIGURE is hidden in the new meaning, while the exactness of angles is highlighted in the metaphor PERCEPTION IS FIGURE. The prefix pwul- 'fire' in pwulkum 'burning Friday night' positively highlights the high temperature of fire in the metaphor ATTITUDE IS FIRE while it negatively highlights it in the metaphor ANGER IS FIRE. This case study shows how expressions highlight different aspects when they are utilized in different metaphors.

18세기 조각승 하천(夏天) 불상의 작풍 연구

심주완 한국불교미술사학회 2024 강좌미술사 Vol.0 No.62

하천(夏天)은 18세기 전반기 활동한 대표적인 조각승이다. 하천은 당대 최고의 조각승 색난(色難)의 마지막 제자로 1727년 대구 동화사 대웅전 목삼세불좌상과 대구 관음사 목보살좌상을 조성하면서 18세기 전반기 대표적인 조각승으로 자리하게 되었다. 하천이 조성한 불상은 총 7건 9점으로 이 불상들의 제작에 수조각승으로 참여한 것으로 추정된다. 하천은 1726년에 전남 고흥 금탑사에서 보살상 2존을 조성하면서 수조각승으로서 본격적인 불상 제작을 시작하였다. 1727년에 경상도 지역으로 자리를 옮겨 대구에서 활동을 시작하게 된다. 이때 제작한 존상이 대구 동화사 대웅전 목삼세불좌상과 현재 대구 관음사에 봉안된 송림사 명부전 목보살좌상이다. 하천은 1727년에 동화사 삼세불상과 관음사 보살상의 제작을 계기로 당대 최고의 조각승으로 이름을 알리게 되었다. 그 이후 하천은 대구 은적사 대웅전 목석가불좌상, 1730년에 김천 봉곡사 목석가불삼존상과 창녕 관룡사 목석가불삼존상 등 대구와 그 인근 지역의 불상 조성을 주도하였다. 하천은 17세기 말 대화사였던 색난의 양식을 계승하고 선배인 충옥(沖玉)과 일기(一幾)의 작풍을 탈피하여 자신만의 고유한 양식으로 발전시켰다는 점에서 18세기 불교조각사에 있어 일획을 그은 인물로 판단된다. 실질적으로 하천의 제자로 추정되는 인물은 대구 관음사 목보살좌상(1727)과 창녕포교당 목석가불좌상(1730)에 참여한 득찰, 성찬 종혜로 추정된다. 다만 하천의 제자가 조성한 불상이 알려진 바가 없다는 점에서 하천을 기점으로 색난파의 영향은 급격히 사라진 것으로 판단된다. 하천 불상은 조선 후기의 보편적인 도상적 특징을 잘 드러내고 있으며, 18세기 전반기 시대적 상황에 부합하고 있다. 하천은 화재로 멸실되어 재건한 동화사 대웅전의 삼세불상을, 금탑사 암자에 각각 2존의 관음보살상을, 창녕포교당과 봉국사 영산전에 석가삼존불상을, 송림사 명부전 보살상을 제작하여 봉안하였는데, 18세기 전반기의 보편적인 도상을 따랐다. 하천 작풍은 색난의 영향이 지배적이지만 색난 작보다 장중하면서도 친근한 양식적 특징을 보여주고 있다. Hacheon(夏天) is a representative mook sculptor who was active in the first half of the 18th century. Hacheon was the last disciple of the best sculptor of the time, Saeknan(色難), and in 1727, he became the best sculptor in the first half of the 18th century when he created the wooden Trikala Buddhas statue in Daeungjeon(大雄殿) Hall of Donghwasa(桐華寺) Temple and the Avalokitesvara Bodhisattva statue in Gwaneumsa(觀音寺) Temple in Daegu. There are a total of seven Buddha statues produced by Hacheon, and it is presumed that he participated as the representative monk sculptor in the production of these statues. Hacheon began making Buddha statues in earnest as the representative mook sculptor, creating two Bodhisattva statues at Geumtapsa(金塔寺) Temple in Goheung, South Jeolla Province, in 1726. Hacheon is moved to Gyeongsang-do in 1727 and began his activities in Daegu. The works produced at this time are the wooden Buddha statue of Donghwasa Temple in Daeungjeon Hall of Donghwasa Temple in Daegu and the wooden Bodhisattva statue of Myeongbujeon(冥府殿) Holl of Songnimsa(松林寺) Temple, which is currently enshrined in Gwaneumsa Temple in Daegu. Hacheon became known as the best mook sculptor of his time with the production of the Trikala Buddhas statue of Donghwasa Temple and the Bodhisattva statue of Gwaneumsa Temple in 1727. Since then, Hacheon has led the creation of Buddha statues in Daegu and its neighboring areas, including the Wooden Buddhad at Eunjeoksa(隱跡寺) Temple in Daegu, and the Wooden Buddha Triad at Bonggoksa(鳳谷寺) Temple in Gimcheon and the Wooden Buddha Triad at Gwanyongsa(觀龍寺) Temple in Changnyeong. Hacheon is considered to have drawn a stroke in the history of Buddhist sculpture in the 18th century in that he inherited the style of Saeknan, which was a dialogue history at the end of the 17th century, and developed into his own style by breaking away from the style of his seniors Chungok(沖玉) and Ilgi(一幾). In fact, Hacheon's disciples are presumed to be Deukchal(得察), Seongchan(成粲), and Jonghye(宗惠), who participated in the seated wooden Bodhisattva statues at Gwaneumsa Temple in Daegu (1727) and the wooden Buddha statues at Changnyeongpogyodang(昌寧布敎堂)(1730). However, since there is no known Buddhist statue made by Hacheon's disciples, it is judged that the influence of the colored school disappeared rapidly starting with Hacheon. Hacheon's Buddha statue clearly reveals the universal iconographic characteristics of the late Joseon Dynasty and fits the situation of the times in the first half of the 18th century. Hacheon's Buddha statue is dominated by the influence of colorlessness, but it shows steeper and more familiar stylistic characteristics than the colorlessness Buddha statue.

조선시대 三世佛像의 연구

심주완 한국미술사학회 2008 美術史學硏究 Vol.259 No.259

三世佛은 敎學上 과거․현재․미래의 시간적 개념으로 알려져 있지만, 조선시대에는 석가불․약사불․아미타불로 구성된 독특한 삼세불상이 대유행을 하게 된다. 또한 본존상에는 비로자나불이 등장하기도 하고, 좌우존상에는 아미타불․미륵불․다보불 등이 등장하기도 한다. 그리고 이 삼세불은 주요 사찰의 중심 佛殿에 봉안되고 있고, 또한 우리나라 전역에 퍼져 있어 조선시대 조각사에 있어 중요한 위치를 차지하고 있다. 그래서 조선시대 삼세불에 대한 연구가 주목받고 있으며, 그 연구 성과가 가시화되고 있다. 그런데 조선시대 삼세불은 교학적 근거가 없고 다양한 형식과 복합적 개념이 포함되어 있어 연구자들마다 다양한 의견이 제시되고 있다. 석가불 중심의 삼불 형식은 三世佛, 三佛, 三界佛, 三方佛 등으로 명명하고 있으며, 비로자나불 중심의 삼불 형식은 ‘毘盧遮那三身佛’, ‘三身佛’, ‘三身三世佛’, ‘三佛’ 등으로 명명하고 있다. 그래서 명칭에 대한 문제점을 언급하고, 조상 기록을 밝혀 ‘三世佛’로 명명하는 것이 타당함을 증명하였다. 삼세불은 인도에서는 찾아볼 수 없고, 5세기 중국 북위시대에 등장하기 시작한다. 이 시기에 이미 시공간의 개념이 융합된 삼세불이 조성되고 있었다. 遼․金代 다시 유행하기 시작하여 원․명․청대 이르기까지 삼세불의 전통이 이어져 오고 있다. 특히 隋代 〈靈泉寺 大住石窟 삼세불좌상〉(589년)은 본존 노사나불, 좌존 미륵불, 우존 아미타불로 구성되어 남북조시대 삼세불의 개념을 이해할 수 있었으며(도4), 금대 〈常樂寺 삼세불좌상〉은 본존 석가, 좌존 미륵, 우존 가섭으로 구성되어 요․금대 삼세불의 일면을 이해할 수 있었다(도7). 우리나라도 고려시대에 삼세불이 본격적으로 등장하기 시작하여 조선 초까지 고려의 전통이 이어지고 조선 후기에는 전국적으로 유행을 하게 된다. 특히 고려시대 〈금강산 삼불암 마애삼존불상〉은 존명이 밝혀져 삼세불의 개념을 밝히는 데 중요한 역할을 하였다(도5). 조선시대 삼세불을 크게 석가삼세불 형식과 비로자나삼세불 형식으로 구분하였는데, 비로자나삼세불 형식은 조선 전기적인 경향이 강하고 석가삼세불 형식은 조선 후기적 경향이 강하다. 특히 좌존상은 미륵불에서 약사불로 대치되어 조선 후기에는 약사불로 정형화되었다. 그래서 조선 후기에는 석가불․약사불․아미타불로 구성된 석가삼세불 형식이 전국적으로 유행하게 된다. 조선시대 삼세불은 과거․현재․미래를 상징하는 시간의 개념과 사바세계․유리세계․극락세계을 상징하는 공간적 개념이 융합되어 있고, 또한 法身․報身․化身의 三身佛 개념도 융합되어 있다. 그뿐만 아니라 五佛을 형상화하고, 시방삼세일체제불을 대변하고 있다. 그리고 사상과 신앙이 공존하고 자력 신앙과 타력 신앙의 조화를 이루는 구성력을 보이고 있다. The Buddhas of the Three Worlds are normally understood as temporal manifestations of Buddha, hence the embodiments respectively of the past, present and the future. During the Joseon Period of Korea, however, a peculiar triad of Buddhas came to represent the Buddhas of the Three Worlds, composed of Śākyamuni, Bhais(s 밑에 점)ajyaguru and Amitābha. The main Buddha of the triad was sometimes Vairocana, accompanied by Amitābha, Maitreya or Prabhūtaratna Buddha as attendant Buddhas. The Buddhas of the Three Worlds are given prominent positions within major Korean temples, located most often inside their main sanctuary, and their place in the history of Joseon-period sculpture was just as central. The Buddhas of the Three Worlds in Joseon Buddhist temples have received much attention among Buddhist specialists. However, due to the lack of doctrinal grounding of this type and its vast stylistic diversity as well as its eclectic symbolism, the interpretation of this sculptural tradition varies wildly depending on the researcher. Buddha triads having Śākyamuni as the main Buddha are generally designated by terms such as samsebul (Buddhas of the three Worlds), sambul (Three Buddhas), samgyebul (Buddhas of the three spheres) or sambangbul (Buddhas of the three directions).” Meanwhile, those triads having Vairocana as the main Buddha are referred to as birojanasamsinbul (Buddhas of the three bodies with Vairocana),” samsinbul (Buddhas of the three bodies), samsinsamsebul (Buddhas of the three bodies and the three worlds) or sambul (Three Buddhas). In this paper, I discuss the confusion in the nomenclature of this iconographic type, and attempt to explain why it should be designated as samsebul by tracing back to the earliest available historical records. The Buddhas of the three worlds, unknown in Indian Buddhism, made their first appearance during the fifth century, in Northern Wei of China. Buddha triads produced during this period already exhibited the defining characteristics of the Buddhas of the three worlds, namely the successive spatio-temporal embodiments of Buddha. The images of the Buddhas of the three worlds regained popularity during the Liao and Jin Dynasties, and the tradition was maintained throughout Yuan, Ming and Qing. The Sui-dynasty Buddhas of the three worlds in the Dazhu cave at Lingchuan Temple (589), having Rocana as the main Buddha, accompanied by Maitreya as the left attendant and Amitabha as the right attendant, for instance, are considered an excellent showcase of this sculptural theme, as it was understood and interpreted during the Northern and Southern Dynasties of China. Likewise, the Jin-Dynasty Buddhas of the three worlds in Changle Temple, consist of Śākyamuni, Maitreya and a Kāśyapa eloquently bespeak the related tradition in the Liao and Jin Dynasties. In Korea, sculpted images of the Buddhas of the three worlds first appeared during the Goryeo Dynasty. This tradition, having remained current through the following Joseon Dynasty, was brought to a peak in the later part of the dynasty, when it gained a nationwide popularity. The Maitreya Buddha Triad at Samburam of Mt. Geumgang, dating from the Goryeo Period, in particular, importantly helped to cast light on the symbolism of the Buddhas of the three worlds, when the identities of the three deities were finally established (Fig. 5). Joseon-period Buddhas of the three worlds are distinguished into two broad categories: those with Śākyamuni as the main Buddha and those having Vairocana as the main Buddha. The latter are generally from the early Joseon Period, while the former are in the style of the late Joseon Period. In the late Joseon Dyansty examples, Bhais(s 밑에 점)ajyaguru Buddha replaced Maitreya as the left-hand attendant of the main Buddha. Hence, the triads popular nationwide during the late Joseon period most often consisted of Śākyamuni, Bhais(s 밑에 점)ajyaguru and Amitābha. Joseon...

파주 보광사 대웅보전 목석가삼세불좌상 및 목협시보살입상 연구

심주완 한국건축역사학회 2023 한국건축역사학회 학술발표대회논문집 Vol.2023 No.05

유근자 지음, 『조선시대 왕실 발원 불상의 연구』 (불광출판사, 2022. 08)

심주완(서평자) 한국미술사학회 2022 美術史學硏究 Vol.316 No.316

조선시대 三世佛像의 연구

심주완(Shim Joowan) 한국미술사학회 2008 美術史學硏究 Vol.259 No.259

三世佛은 敎學上 과거ㆍ현재ㆍ미래의 시간적 개념으로 알려져 있지만 조선시대에는 석가불ㆍ약사불ㆍ아미타불로 구성된 독특한 삼세불상이 대유행을 하게 된다. 또한 본존상에는 비로자나불이 등장하기도 하고, 좌우존상에는 아미타불ㆍ미륵불ㆍ다보불 등이 등장하기도 한다. 그리고 이 삼세불은 주요 사찰의 중심 佛殿에 봉안되고 있고, 또한 우리 라라 전역에 퍼져 있어 조선시대 조각사에 있어 중요한 위치를 차지하고 있다. 그래서 조선시대 삼세불에 대한 연구가 주목받고 있으며, 그 연구성과가 가시화되고 있다. 그런데 조선시대 삼세불은 교학적 근거가 없고 다양한 형식과 복합적 개념이 포함되어 있어 연구자들 마다 다양한 의견이 제시되고 있다. 석가불 중심의 삼불 형식은 三世佛, 三佛, 三界佛, 三方佛 등으로 명명되고 있으며, 비로자나불 중심의 삼불 형식은 ‘毘盧遮那三身佛’, ‘三身佛’, ‘三身三世佛;, ‘三佛’ 등으로 명명되고 있다. 그래서 명칭에 대한 문제점을 언급하고, 조상 기록을 밝혀 ‘三世佛’로 명명하는 것이 타당함을 증명하였다. 삼세불은 인도에서는 찾아볼 수 없고, 5세기 중국 북위 시대에 등장하기 시작한다. 이 시기에 이미 시공간의 개념이 융합된 삼세불이 조성되고 있었다. 遼ㆍ金代 다시 유행하기 시작하여 원ㆍ명ㆍ청 대 이르기까지 삼세불의 전통이 이어져 오고 있다. 특히 隋代 〈靈泉寺 大主石窟 삼세불좌상〉(589년)은 본존 노사나불, 좌존 미륵불, 우존 아마타불로 구성되어 남북조시대 삼세불의 개념을 이해할 수 있었으며(도4), 금대 〈常樂寺 삼세불좌상〉은 본존 석가, 좌존 미륵, 우존 가섭으로 구성되어요ㆍ금대 상세불의 일면을 이해할 수 있었다(도7). 우리나라도 고려시대에 삼세불이 본격적으로 등장하기 시작하여 조선 초까지 고려와 전통이 이어지고 조선 후기에는 전국적으로 유행을 하게 된다. 특히 고려시대 〈금강산 삼불암 마애삼존불상〉은 존명이 밝혀져 삼세불의 개념을 밝히는 데 중요한 역할을 하였다(도5). 조선시대 삼세불을 크게 석가삼세불 형식과 비로자나삼세불 형식으로 구분하였는데, 비로자나삼세불 형식은 조선 전기적인 경향이 강하고 석가삼세불 형식은 조선 후기적 경향이 강하다. 특히 좌존상은 미륵불에서 약사불로 대치되어 조선 후기에는 약사불로 정형화되었다. 그래서 조선 후기에는 석가불ㆍ약사불ㆍ아미타ㆍ로 구성된 석가삼세불 형식이 전국적으로 유행하게 된다. 조선시대 삼세불은 과거ㆍ현재ㆍ미래를 상징하는 시간의 개념과 사바세계ㆍ유리세계ㆍ극락세계을 상징하는 공간적 개념이 융합되어 있고, 또한 法身ㆍ報身ㆍ化身의 三身佛 개념도 융합되어 있다. 그뿐만 아니라 五佛을 형상화하고, 시방삼세일체제불을 대변하고 있다. 그리고 사상과 신앙이 공존하고 자력 신앙과 타력 신앙의 조화를 이루는 구성력을 보이고 있다. The Buddhas of the Three Worlds are normally understood as temporal manifestations of Buddha, hence the embodiments respectively of the past, present and the future. Dilling the Joseon Period of Korea, however, a peculiar triad of Buddhas came to represent the Buddhas of the Three Worlds, composed of ??kyamuni, Bhai?ajyaguru and Amit?bha. The main Buddha of the triad was sometimes Vairocana, accompanied by Amit?bha, Maitreya or Prabh?taratna Buddha as attendant Buddhas. The Buddhas of the Three Worlds are given prominent positions within major Korean temples, located most often inside their main sanctuary, and their place in the history of Joseon-period sculpture was just as central. The Buddhas of the Three Worlds in Joseon Buddhist temples have received much attention among Buddhist specialists. However, due to the lack of doctrinal grounding of this type and its vast stylistic diversity as well as its eclectic symbolism, the interpretation of this sculptural tradition varies wildly depending on the researcher. Buddha triads having ??kyamuni as the main Buddha are generally designated by terms such as samsebul (Buddhas of the three Worlds), sambul (Three Buddhas), samgyebul (Buddhas of the three spheres) or sambangbul (Buddhas of the three directions)." Meanwhile, those triads having Vairocana as the main Buddha are referred to as birojanasamsinbul (Buddhas of the three bodies with Vairocana)," samsinbul (Buddhas of the three bodies), samsinsamsebul (Buddhas of the three bodies and the three worlds) or sambul (Three Buddhas). In this paper, I discuss the confusion in the nomenclature of this iconographic type, and attempt to explain why it should be designated as samsebul by tracing back to the earliest available historical records. The Buddhas of the three worlds, unknown in Indian Buddhism, made their first appearance during the fifth century, in Northern Wei of China. Buddha triads produced during this period already exhibited the defining characteristics of the Buddhas of the three worlds, namely the successive spatio-temporal embodiments of Buddha. The images of the Buddhas of the three worlds regained popularity during the Liao and Jin Dynasties, and the tradition was maintained throughout Yuan, Ming and Qing. The Sui-dynasty Buddhas of the three worlds in the Dazhu cave at Lingchuan Temple (589), having Rocana as the main Buddha, accompanied by Maitreya as the left attendant and Amitabha as the right attendant, for instance, are considered an excellent showcase of this sculptural theme, as it was understood and interpreted during the Northem and Southern Dynasties of China, Likewise, the Jin-Dynasty Buddhas of the three worlds in Changle Temple, consist of ??kyamuni, Maitreya and a K??yapa eloquently bespeak the related tradition in the Liao and jin Dynasties. In Korea, sculpted images of the Buddhas of the three worlds first appeared during the Goryeo Dynasty. This tradition, having remained current through the following Joseon Dynasty, was brought to a peak in the later part of the dynasty, when it gained a nationwide popularity. The Maitreya Buddha Triad at Samburam of Mt. Geumgang, dating finn the Goryeo Period, in particular, importantly helped to cast light on the symbolism of the Buddhas of the three worlds, when the identities of the three deities were finally established (Fig. 5). Joseon-period Buddhas of the three worlds are distinguished into two broad categories, those with ??kyamuni as the main Buddha and those having Vairocana as the main Buddha. The latter are generally from the early Joseon Period, while the fanner are in the style of the late Joseon Period. In the late Joseon Dyansty examples, Bhai?ajyaguru Buddha replaced Maitreya as the lefthand attendant of the main Buddha, Hence, the triads popular nationwide during the late Joseon period most often consisted of ??kyamuni. Bhai?ajyaguru and Amit?bha. Joseon Buddhas of the three worlds combine the temporal symbolism whereby

壬辰倭亂 이후의 大形塑造佛相에 관한 硏究

심주완(Sim Joo-wan) 한국미술사학회 2002 美術史學硏究 Vol.- No.233·234

This article is about the lineage of Buddhist large stucco sculptures that has been popular after the Japanese Invasion of Korea in 1592, during the Chosun Dynasty. 7 sets of images were selected for the analysis: images of "three times of the Buddha (三世佛)" in temple Song-gwang (松廣寺) and in temple Gap (甲寺): images of "three bodies of Buddha (三身佛)" in temple Bup-ju (法住寺) and in temple Gui - sin (歸信寺): images of "three bodies of the Buddha" in temple Sun - woon (禪雲寺): images of two Bodhisatva in temple Gum - san (金山寺): images of three Buddhist deities in temple Mu - liang (無量寺), These images were enshrined in the central buildings (which were usually multi-stories) of those temples, which hold the most significant position in the Chosun period. Buddhist paintings were placed behind the images instead of the representations of halo, Images were placed on the main altar or behind it. Natural Gay was used to build these sculptures, and they were dried with air without applying heat. They were usually above 4 meters high, and due to their largeness, images could have enough space in their belly part for containing holy relics. The specific height of 4 meters has been considered as identical to the height of "6 - Jiang (a measure of length, 丈六, 16尺) - statue" , the statue which was regarded as the first image built after Sakya - Muni Buddha's physical body. Therefore, it would be clear that these large stuccos are parts of the long tradition of "6- jiang - statues (丈六佛像)", which can be traced back to the first making of Buddhist image in Korea. First of all, I tried to determine the dates when they were manufactured, by stylistic analysis and by examining related written sources. As stylistic characters, these stuccos commonly have large size, stiff and cubic modeling, and simple and straight outlines. With support from written records, it can be suggested that these characters show aspects after the Japanese Invasion of Korea in 1592 in producing Buddhist sculptures. In other words, these stuccos were made at the time when new styles in image making emerged and started to prevail after the Japanese Invasion of Korea in 1592. However, as early examples of this new phase, they still had some features of the past, which are easily found in the 16th century's "6 - jiang - statue" in temple Kirim (祈林寺). Triggered by the Manchurian invasion into the Chosun Dynasty in 1627 after the Japanese Invasion of Korea in 1592, the first half of the 17th century became a turning point in the political circumstances among China, Korea and Japan. This major change also caused various innovations in artistic production. Korean Buddhism, which had been oppressed from the time of the dynasty's foundation, finally gained governmental favor due to the positive role of the monk's force in fighting against Japanese invasion, as well as the spiritual consolation that Buddhism could provide to survivors of the war. Therefore, nation- wide restoration of Buddhist temples took place under tacit approval of the government, and a series of "6 - jiang" stuccos were produced along with this restoration. Second, I tried to show that the majority of Buddhist stuccos after Japanese Invasion of Korea in 1592 represent the "three bodies" and "three times" of Buddha. The formation of "three times of Buddha" was adopted as a special concept, whose members are Sakya (center), Bhaisajyaguru (left), and Amitabha (right). The example of "three generation" in temple Gap is the oldest as a formation consisting of 7 Buddhist deities, and the example of "three generation" in temple Song-gwang is the oldest in this sort. The example in temple Bup - joo is the largest in size among the examples of "three bodies" , which consist of Buddha's images only. In this article, I explained that the formation of "three bodies and three times of the Buddha" is a fusion of "three bodies of the Buddha" and "three generation of the Buddha", fusion that was motivated by t