하동 쌍계사 기사문수‧기상보현동자상 연구

Abstract

This is a study on the lion-riding Maňjuśri boy-monk-miniature and the elephant-riding Samantabhadra boy-monk-miniature enshrined in the Geumgangmun of Ssanggye-sa temple in Hadong. The lion-riding Maňjuśri boy-monk-miniature and the elephant-riding Samantabhadra boy-monk-miniature at the Ssanggye-sa temple, which occupy an important position in the history of Korean Buddhist sculpture, play a very important role in understanding the iconographic characteristics and style of boy-monk-miniatures in the early 18th century. However, the Maňjuśri boy-monk-miniature enshrined inside the Geumgangmun Gate of Ssanggye-sa temple was unfortunately stolen around 2002 and its whereabouts are unknown, and the Samantabhadra boy-monk-miniature that remained after the incident is currently enshrined in the Seongbojeon of Ssanggye-sa temple. The art historical significance of the Maňjuśri‧Samantabhadra boy-monk-miniatures of Ssanggye-sa temple are as follows. First, through the related scriptures and literature records of the boy Maňjuśri and Samantabhadra, it can be seen that they appeared in various meanings and forms, from the formation of national Buddhism to the role of a good teacher who leads practitioners to attain enlightenment, or as a practitioner who relieves individual suffering. Second, the significance lies in the fact that the Maňjuśri‧Samantabhadra boy-monk-miniatures are the only lion-riding Maňjuśri‧elephant-riding Samantabhadra boy-monk-miniatures in Korea that have the date of creation, the artist, the donor, and the contents of the wish. Through the “新造﨎溪寺拾得童子尊像腹藏願文” discovered in the Samantabhadra boy-monk-miniature’s costume, the year of creation (1705, 44th year of Kanghee) and the contents of the wish were known, and it was clearly identified that there were the artists who participated, including the best sculptor monk ‘Saeknan’ who was active in the 18th century and the 17 monks including female monk, ‘Hacheon’. ‘Saeknan’, who was active as a top sculptor, leaving behind dozens of works from the late 17th century to the early 18th century, formed the so-called ‘Saeknanpa’ and established themselves as a group of craftsmen who had great influence in the Gyeongsang-do region, with Jeolla-do as their base. It can be seen that the outstanding painters made up of these ‘Saeknanpa’ sculptors actively participated in the creation of Maňjuśri‧Samantabhadra boy-monk- miniatures at the Ssanggye-sa temple, and that their outstanding sculpting skills and refined artistry stood out. Third, the appearance of the iconography of the lion-riding Maňjuśri boy-monk-miniature and the elephant-riding Samantabhadra boy-monk- miniature can be seen as a result of a combination of various factors, including scriptures and various documents, and the popularity of the Maňjuśri faith that originated from King Sejo’s personal encounter with the boy Maňjuśri, and it was possible to reveal that the boy-monk-miniatures represented the era with its excellent sculptural style. In this way, the significance of the iconography of the lion-riding Maňjuśri and the elephant-riding Samantabhadra boy-monk-miniatures at the Ssanggye-sa temple is that it more clearly reveals the characteristics and style of the boy-monk-miniature in the early 18th century.