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초록

영어

This paper is a study on Gyechan, a monk-sculptor, who is the creator of the Wooden Seated Buddha enshrined in Cheonbuljeon Hall of Geumsusa Temple in Choryang-dong, Busan. Geumsusa Temple is a Wonhyo Order, and it has been passed down through the history of the temple that Monk Dongho of Hwaeomsa Temple in Gurye, Jeollanam-do rebuilt it in 1910 under the name of Geumsujeongsa Temple. The sculptor of the Wooden Seated Buddha enshrined in Cheonbuljeon Hall of Geumsusa Temple was presumed to be Eunghye, a monk-sculpture of Hyeonjin·Cheongheon school in the 17th century of the late Joseon Dynasty, through the costume prayer, the monk-sculptor that created the Buddha statue was Gyechan that inherited the genealogy of Eunghye, and it was confirmed that it was produced in 1686. The Wooden Seated Buddha of Geumsusa Temple is a small Buddha statue, and the pedestal is carved of a single tree connected to the bottom of the Buddha statue, and the folds of the clothes on the lower body are treated as the skirt covering the pedestal. This production technique and the method of expressing the lower body wrinkles are one of the characteristics shared by the sculptural monks of the Eunghye genealogy, and were also used in the Wooden Seated Bodhisattva of Samgwangsa Temple in Jeju produced by Eunghye and Gyechan in 1671. However, it is believed that the difference from the Buddha statue created by Eunghye was found in the detailed expression, reflecting Gyechan's unique sense of sculpture. Gyechan is an monk-sculptor who started training with Eunghye of Hyunjin·Cheongheon school from the 1640s and participated in the creation of Buddha statues as an assistant monk-sculptor of Eunghye for a long time. Later, it is presumed that he created many Buddha statues when he became chief monk-sculptor, but it was confirmed that they were produced by Gyechan in two cases, the Seated Stone Buddha in Mucharu of Jeokcheonsa Temple in Cheongdo in 1653 and the Wooden Three Directional Buddha in Daeungjeon Hall of Donghwasa Temple in Suncheon in 1657. The Buddha statue of Geumsusa Temple was made in 1686, which belongs to the end of the 17th century, and can be said to be an important commemorative work confirming that Gyechan continued to build the statue from the middle to the end of the 17th century. Wooden Seated Buddha of Geumsusa Temple is believed to be in the last stage of Gyechan's work. The previous two Buddha statues differ in the production technique and the style of the work, which is believed to play a very important role in understanding the change in the style of Gyechan. Gyechan worked as a monk-sculptor for about 40 years from the 1640s to the 1680s, but no case has been confirmed that he was active in the 1660s and 1670s. So, among the Buddha statues whose sculptor is unknown, based on stylistic affinity, works believed to have been carved by Gyechan or monk-sculptors who had the same genealogy as Gyechan were selected and compiled in chronological order. Wooden Seated Buddha of Geumsusa Temple belongs to the unknown later works of Gye-chan, and is the basis for understanding when Gye-chan was active, and is an important example of showing that Gye-chan inherited Eunghye's style while developing his own sense of sculpture.

한국어

본 논문은 부산광역시 초량동에 소재한 금수사 천불전에 봉안된 <목조석가불좌상>의 제작자인 조각승 계찬에 관한 연구이다. 금수사는 원효종 사찰로서 1910 년 전남 구례 화엄사의 동호 스님이 금수정사라는 이름으로 중창하였다는 사실이사적기를 통해 전해지고 있다. 금수사 천불전에 봉안된 목조석가불좌상의 제작자는 그동안 조선 후기 17세기에 활동했던 현진·청헌파의 조각승 응혜로 추정되었으나 복장발원문을 통해 불상을 조성한 조각승이 응혜의 계보를 이은 계찬이며조성 시기는 1686년임이 확인되었다. 금수사 <목조석가불좌상>은 소형불상으로, 대좌는 불상 밑면에 이어진 하나의나무로 조각되었고 하반신의 옷주름은 상현좌로 처리되었다. 이와 같은 제작 기법과 하반신 옷주름의 표현 방식은 응혜 계보의 조각승들이 공유하고 있는 특징중 하나로서 1671년 응혜와 계찬이 함께 제작한 제주 삼광사 목조보살좌상에도사용되었다. 그러나 세부적인 표현에서 응혜가 조성한 불상과는 차이가 발견되어계찬만의 개성 있는 조형감이 반영된 것으로 판단된다. 계찬은 1640년대부터 현진·청헌파의 응혜에게 수련을 시작하여 오랜 기간 동안 응혜의 보조 조각승으로 불상 조성 활동에 참여한 조각승이다. 이후 수조각승이 되어서는 많은 불상들을 조성했을 것으로 짐작되지만 계찬이 제작한 것으로확인된 것은 1653년 청도 적천사 무차루 <석조아미타불좌상>과 1657년의 순천동화사 대웅전 <목조삼방불좌상> 두 사례이다. 금수사 불상은 17세기 말에 속하는 1686년의 작품으로, 계찬이 17세기 중엽부터 말엽까지 지속적으로 불상 조성활동을 이어갔음이 확인되는 중요한 기년작이라 할 수 있다. 금수사 <목조석가불좌상>은 시기적으로 계찬의 마지막 작품 활동 단계에 속할 것으로 추정되며 앞서제작된 두 사례의 불상과는 제작 기법과 작품의 양식에 차이가 존재하여 계찬의작풍 변화를 이해하는데 매우 역할을 할 것으로 판단된다.

목차

Ⅰ. 머리말
Ⅱ. 금수사 <목조석가불좌상>과 복장발원문
1. 금수사 <목조석가불좌상>의 현상
2. 복장발원문의 특징
Ⅲ. 조각승 계찬의 작풍 형성과 조상 활동
1. 계찬의 작풍 형성과 조상 활동
2. 계찬이 제작한 것으로 추정되는 작품
Ⅴ. 맺음말
참고문헌
국문초록
Abstract

키워드

부산 금수사 조선 후기 17세기 조각승 응혜 계찬 구례 화엄사 Busan Geumsusa Temple sculpture monks in 17th century of the late Joseon Dynasty Eunghye Gyechan Gurye Hwaeomsa Temple 釜山 金水庵 朝鮮 後期 17世紀 彫刻僧 應惠 戒贊 求禮 華嚴寺

저자

• 장은영 [ Jang Eunyeong | 동국대학교 ]

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