문경 봉암사 마애미륵여래좌상 연구

Abstract

This study Focused on the <rock-carved seated Maitreya Buddha of Bongamsa Temple>, Mungyeoung. Rock-carved Seated Maitreya Buddha of Bongamsa Temple is located on Baekundae(白雲臺) valley in the Mt. Huiyangsan. Buddhist monk name is Hwanjeok Uicheon(幻寂義天) commissioned to carve image of Buddha on the rock wall for him and the other people in 1663. And He was disciple of Pyeonyang Eongi(鞭羊彦機). Pyeonyang’s teacher is Seosan Hujeong(西山休靜). Bongamsa Temple is a special training building for the Jogye Order. It always closed except on Buddha's Birthday, April 8 based on the lunar calendar. It is not easy to enter the temple, only a few research articles existing on the Bongamsa temple. In this research, the researcher observed the life of Hwanjeock Uicheon monk that originated the eternal life of rock-carved seated Maitreya Buddha of Bongamsa Temple. And the researcher tries to observe the iconographic characteristics of <rock-carved seated Maitreya Buddha of Bongamsa temple>. The reason for the creation of the <rock-carved seated Maitreya Buddha of Bongamsa temple> is presumed historically and ideologically. Also, the researcher examined the significance of the sculpture of <rock-carved seated Maitreya Buddha of Bongamsa temple> and the prominent pictorial expressions. Hwanjeok was a monk who practiced both meditation and the chanting. He led the construction of halls and the creation of Buddha statues at every temple where he stayed. He established four temple halls named ‘Hwanjeokam’ after his dharma name. He also took the lead in the creation of Buddhist statues, with notable examples being the wooden seated statue of Manjushri at Sangwonsa Temple and the <rock-carved seated Maitreya Buddha of Bongamsa Temple>. After his passing, his disciples erected stupas in eight temples and enshrined his relics. The records indicate that stupas were built at places including Bongamsa Temple in Mungyeong, Hongjeam at Haeinsa in Hapcheon, Cheongpyeongsa Temple in Chuncheon, Deokjusa Temple in Jecheon, Gakhwasa Temple on Taebaek Mountain, Yeonsusa in Geochang, Yongyeonsa in Daegu, and Daegoksa in Indong. However, considering that a stupa remains at Daehongsa in Chilgok, it is likely that Daegoksa in Indong is actually a reference to Daehongsa. <rock-carved seated Maitreya Buddha of Bongamsa temple> is important to study maitreya buddha and rock-carved buddha in the 17th century in that it is the rock-carved image after the Joseon with the absolute era and sacred image. Also, it shows how the roadbed of rock-carved maitreya buddha with the branch of nāgapuṣpa flower(龍華) continued from Goryeo dynasty was inherited until the latter period of Joseon. Another remarkable thing is that Bongamsa rock-carved buddha is based on the hanging painting of buddha. The hand movement or clothing method, exorcism or expression of esteemed will of maitreya image were confirmed main in the hanging more than the statue of buddha at the same era. <rock-carved seated Maitreya Buddha of Bongamsa temple> is noteworthy in that it appears to have been created based on a hanging painting. In this paper, the researcher compare the iconography of the <rock-carved seated Maitreya Buddha of Bongamsa temple> with such as the hanging painting of Naju Jungnimsa Temple(Sakyamuni Buddha) and the Hwaeomsa’s painting to identify common features. Additionally, through the hanging painting expressions found in the hanging painting of Andong Bongjeongsa, which was created in the early 18th century, I investigate whether the iconography of the <rock-carved seated Maitreya Buddha of Bongamsa temple> is connected to the iconographic trends of later hanging paintings. <rock-carved seated Maitreya Buddha of Bongamsa temple> is noteworthy in that it appears to have been created based on a hanging painting. In this paper, the researcher compare the iconography of the <rock-carved seated Maitreya Buddha of Bongamsa temple> with such as the hanging painting of Naju Jungnimsa Temple(Sakyamuni Buddha) and the Hwaeomsa’s painting to identify common features. Additionally, through the hanging painting expressions found in the hanging painting of Andong Bongjeongsa Temple, which was created in the early 18th century, I investigate whether the iconography of the <rock-carved seated Maitreya Buddha of Bongamsa temple> is connected to the iconographic trends of later hanging paintings. In the late Joseon period, there was interaction between sculptors and Buddhist painters. Sometimes painters participated in the creation of Buddhist statues, and sculptors contributed to the creation of Buddhist paintings. Notable figures such as Dowu and Cheonsin, who were active in the Gyeongsang and Jeolla regions in the 17th century, are prime examples. It is worth considering the possibility that a painter was involved in the creation of the <rock-carved seated Maitreya Buddha of Bongamsa temple> and that the initial sketch of the rock-carved Buddha was drawn by a Buddhist painter. There is no record of why Hwanjeok used hanging painting iconography as a model for the creation of the <rock-carved seated Maitreya Buddha of Bongamsa temple>. However, as mentioned earlier, the 17th century was a period of Buddhist revival. While there was a surge in the creation of Buddhist halls, statues, and paintings, but rock-carved statues were extremely rare. This suggests that there were not many stone sculptors available. It is likely that the involvement of painters was intended to overcome the quantitative and qualitative limitations of stone sculptors, leading to a greater emphasis on pictorial depictions and line engravings. <rock-carved seated Maitreya Buddha of Bongamsa temple> is a late Joseon rock-carved Buddha with a definitive date and a known name. The prominence of pictorial expression reflects a new format that borrowed techniques from Buddhist painting to overcome the limitations of sculpture. This makes it an important work for understanding 17th-century Maitreya and rock-carved Buddhas.