나옹 문손 신미 주도의 상원사 재건 불사와 목조문수동자좌상 도상 고찰

Abstract

The subject of this study is the reconstruction of Sangwonsa Temple(上院寺) on Mt. Odae, initiated during the early Joseon Dynasty under King Sejo, and the wooden seated figure of Manjusri Youth at Sangwonsa Temple(上院寺 木造 文殊童子坐象, 1466). The purpose of this research is twofold: first, to demonstrate that the reconstruction project was recommended by Shinmi(信眉), a disciple in the lineage of Naong(儺翁), and carried out by his pupil, Hagyeol (學悅), as an act to honor Naong Hyegeun(懶翁惠勤)’s legacy. Second, it aims to elucidate the Buddhist art historical significance of the wooden seated Manjusri Youth statue((上院寺 木造文殊童子坐象) through iconographic analysis. To achieve these objectives, this study explores the Buddhist historical context in which Naong’s disciples came to focus on Mt. Odae(五臺山), the characteristics of royal Buddhist sculpture commissions in the early Joseon period(朝鮮初期), and the influence of Ming-dynasty(明 王朝) Tibetan style on these sculptures. The Samguk Yusa (三國遺事), compiled by Iryeon(一然) in the late Goryeo period(高麗後期), rediscovered the historical and religious significance of Mt. Odae(五臺山). Naong(懶翁), i nspi erd by t he S amguk Y usa (三國遺事), recognized Mt. Odae(五臺山) as a symbolic site for Buddhist revival and national renewal. This rediscovery and revaluation became a driving force and foundation for the reconstruction of Mt. Odae(五臺山), which later developed into a place for honoring Naong(懶翁)’s legacy under the auspices of his devoted disciples. The author asserts that during King Sejo(世祖)’s reign, Shinmi(信眉), a direct successor of Naong(儺翁), urged Queen Jeonghui(貞熹王 后) to support the renovation of Sangwonsa Temple(上院寺), which eventually led Princess Uisuk(懿淑公主) to commission the creation of the wooden seated Manjusri Youth statue at Sangwonsa Temple(上院寺). In conclusion, the 1466 reconstruction of Sangwonsa Temple(上院寺), led by Shinmi(信眉), stands as a commemorative project honoring Naong(儺翁). Furthermore, the wooden seated Manjusri Youth statue(上院寺 木造文殊童子坐 象), as a quintessential piece of 15th-century Buddhist sculpture, reflects an integration of Goryeo(高麗) and Ming(明) Tibetan styles. Not only does it embody significant iconographic features, but its documented purpose, patron, and date of creation also render it a pivotal work for the study of early Joseon (朝鮮) Buddhist statuary.