조선 후기 조각승(彫刻僧)의 활약과 인균(印均)

Abstract

The Imjin War (1592-1598) and Japan's Second Invasion in 1597 resulted in the tragic loss of many Buddhist artworks. Immediately after the war's end, the Buddhist community focused on rebuilding these lost works. They organized reconstruction efforts and cultivated new craft masters to serve Buddhist needs. In-gyun emerged as a prominent Buddhist sculptor in the early to mid-17th century. A follower of Byeokam Gakseong (1575-1660), a member of the Buddhist monk soldiers under the command of the Chief Buddhist monk soldier, In-gyun was based in temples throughout Jeolla Province. His sculpting career spanned nearly 48 years, beginning with the Muan Mokwooam Buddha statue in 1614 and concluding with the Haksoam Buddha statue in Jeonju in 1662. Recent discoveries have expanded the known body of In-gyun's work, including statues at Muan Mokwooam (1614), Jasusa-Insusa (1622), Baekunsa Temple in Gwangyang (1643), and Jangyeonsa Temple in Cheongdo(1643). These finds allow for a more comprehensive study of his artistic trajectory. In the 1610s, In-gyun honed his skills under the tutelage of his sculptural teachers and seniors, Gakshim and Tai-jeon. By the 1620s, he had become a top sculptor himself. While he did not establish his own school of thought, he assisted his mentor Eungwon and participated as a representative sculptor (possibly representing all Korean Buddhist provinces) in the creation of the Buddha statues for Jasu Temple and Insu Temple, the most significant royal temples built for Buddhist sculpture in the 17th century. The 1630s saw In-gyun collaborating with his senior, Eungwon, on large-scale temple statues, such as the Daeungjeon Buddha statue in Hwaeomsa Temple. However, he also began working independently on sculptures for smaller and medium-sized temples, such as the Gwisinsa Buddha statue, establishing himself as a leading sculptor. Throughout his remaining career, until the creation of the Gaksoam Buddha statue in 1662, In-gyun served as a master sculptor, guiding many junior sculptors and artisans. Cheonshin, Samin, and Sacknan, who participated in sculpting projects with him, inherited his artistic tradition. Notably, Sacknan became the most active sculptor from the late 17th to the early 18th century. Thus, In-gyun stands as a pivotal figure, forming a lineage of important sculptors in Korean Buddhist art history – Gakshim, Taejeon, Eungwon, In-gyun, Cheonshin, Samin, and Sacknan – and leading the way for late Joseon Buddhist sculpture. In-gyun's works are characterized by a simple face with an angular nose and a towering, protruding bridge. The face is further emphasized by thick eyebrows and a pouch-like form for the lips. In contrast to other sculptors, In-gyun's figures have rounded and softly realized body curves. These curves are echoed in the soft and fluid lines of the drapery.