조선후기 木刻幀에 나타난 극락구품 연구
Study on the Paradise of Amitabha Presented in the Amitabha Wooden Wall Sculptures in the Late Joseon Period
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5점[용문사(1684), 대승사(17세기), 경국사(17세기), 실상사 약수암(1782), 남장사 관음선원 목각탱(1694)]의 조선후기 목각탱의 조성배경과 극락구품의 내용을살펴본 후, 구품왕생자를 의미하는 연꽃을 원형 장식으로 상징화한 용문사 상(도1) 형식과 구품왕생자 혹은 연꽃을 사실적으로 묘사한 실상사 약수암 상(도4) 등과 비교한 결과는 다음과같다. 첫째, 용문사 목각탱의 명칭인 像三尊後佛木幀大彌陀會를 풀이하면 미타회후불목탱 이며 이는 관경16관변상도인 개심사 미타회후불탱(1767)과도 연관된다. 그 내용은 명문에서도 확인할 수있듯이 구품도이며, 이는 1465년 관경16관변상도(도7)의 화기와 일치한다. 이와같이 관경16관변상도는 구품도, 미타회후불목탱, 安樂世界佛會 圖(1300년경作관경16관변상도) 등다양한명칭으로불려지는것을알수있다. 둘째, 1465년 관경16관변상도(도7)의 화기에 의하면 이 구품도를 그리는 자는 천재를 면하며, 발원자(시주자)는 죽은자나 산자 모두 삼도를 벗어나 상품에 극락왕생하게할 수있으며, 부처님께 귀의하여 福, 壽를 누린다고 하는 수명장수와 염불구품왕생의 소망은 조선조 후기 목각탱의 제작 목적과 같다고 하겠다. 셋째, 대승사 목각탱(도2)의 상단부 붉은 원형장식(第一琵波戶佛)의 갑작스러운 등장은 그위치와원모양에서관경16관변상도(도7)의 “第一日沒觀”을생각나게한다. 이는개심사미타회후불탱(1767)에 이어서 구품(14관-16관)과 1觀인 日沒觀이 결합한 19세기 경상도 지방의 구품도와 연결된다. 또한 서울 경국사 목각탱(도3)에 나타난 3줄3단의 원형 장식의 구품도상은 운흥사 목판勸修淨業往生捷徑變相圖(1678)와 유사하다. 이는 17세기불화에梵字나 漢字 혹은 佛, 菩薩像을 원안에 그려넣어 강조하거나 장식하는 경향도 있지만권수정업왕생첩경의 내용도 첨가된 것같다. 따라서 목각탱은 觀經 등 정토삼부경 외후대에 권수정업왕생첩경과 같은 여러 관련경전이 참조된 듯하나 실상사 약수암 목각탱(도4)은1465년관경16관변상도(도7)의구품장면을충실히따르고있다. 넷째, 용문사 상과 실상사약수암 상을 제외하고는 원위치에서 옮겨졌으나 목각탱대부분이 경북지방에 봉안되어있다. 용문사 상(도1)･대승사 상(도2)･서울 경국사 상(도3)은 장면이 추가되거나 형태묘사의 완성도에 차이가 있을 뿐 도상이 거의 같다. 따라서 이들은 같은 조각가가 참여했던지, 또는 유사한 모본을 사용하면서 용문사목각탱(1684)을 전후하여 장면을 첨가하던가 혹은 제외시키면서 17세기에 제작된것 같다. 용문사 목각탱(도1)에서 보듯이 목각탱과 목불좌상이 원래 한조로 조각되었으나 용문사 상 외에는 앞의 불상이 남아있지않다. 독립상인 이 아미타삼존불좌상은아미타극락회의 설법하는 장면인 동시에 극락구품연못에 새로 태어나는 왕생자를 그신앙심이나 수행의 깊이에 따라 9등급으로 구제하여 맞이하는 극락구품의 아미타삼존불상이기도하다.
Abstract
I’ve analyzed five Amitabha Wooden Wall Sculptures produced in the late Joseon period which are located in five temples respectively: Yongmun Temple (1684), Daesueng Temple (17C), Gyeongguk Temple (17C), SilsangTemple (1782), and Namjang Temple (1694). When I examined the background, the sculptures and the teachings, two main Amitabha Wooden Wall Sculptures-one which symbolizes a lotus with decorative circles in Yongmung Temple and the other which even depicted the lotus and a soul incarnated in to paradise in Silsang Templehave been narrowed to be compared with each other. The results are as follows. To begin with, Sangsamjon hubulmoktaeng dae mitahoe (像三尊後佛木幀大彌陀會), which is located in Yongmun Temple,can be interpreted as the wooden wall sculpture engraved with the group of Amitabha placed behind the altar (Mitahoehubulmoktang) and further, can be related to the painting of the group of Amitabha, a backdrop of the altar (Mitahoehubultaeng). The subject is the same as the one of the Buddhist paintingsof the paradise of Amitabha (Gupumdo) which resembles the painting of the sixteen meditations (Guan gyeong sip yuk guan byeon sang do). Thus, the painting of the sixteen meditations has been called various names such as the painting of the group of Amitabha (Mitahoehubultaeng), the Buddhist paintings of the paradise of Amitahba (Gupumdo), and the painting of the gathering in the heaven (Anraksegyebulheodo, 安樂 世界佛會圖, AD1300). Secondly, there has been a belief that the person who draws the painting of the sixteen meditations can avoid natural calamities and that the benefactors of the temple, regardless of if they are alive or not, can get away from their Stygian life and reach paradise. Finally those benefactors will be blessed with longevity and fortune if they are devoted to the Buddha. This belief is what causes these Amitabha Wooden Wall Sculptures to continue being produced. Third, the sudden appearance of decorative circles in the upper part of Amitabha Wooden Wall Sculpture in Daeseung Temple (Picture 2) is noticeable since they are similar to the first meditation, “Watch the sun go down and calm yourself (Ilmulguan)” in the painting of the sixteen meditations. It is assumed that there is a strong relation with a couple of Buddhist artworks such as the painting of the gathering of Amitabha (Mita hoe hu bultaeng) produced in 1767 in Gaesim Temple and the combined version of two other works : the 14th through 16th meditation views in the painting of the paradise of Amitabha (Gupumdo), and the 1st meditation view in the painting of the sixteen meditations.Gyeongsang province in Korea preserves the combined style created in the 19th century. The nine circles placed in vertical and horizontal rows decorated in the Buddhist wooden wall sculpture in Gyeonguk Temple take after those in the painting called ‘Gwon su jeong eop wang saeng cheop gyeong' (1678) in Unheung Temple. In the late Joseon Buddhist Paintings, the style of circling Buddha, Bodhisattva, and Chinese characters are most common. This style, however, seems to have been affected by the sutrafrom the Buddhist book, ‘Gwon su jeong eop wang saeng cheop gyeong’. In short, Buddhist sutras such as 'Jeong to sam bu gyeong', and ‘Gwon su jeong eop wang saeng cheop gyeong’might look influential to Amitabha Wooden Wall Sculpture. However, the painting in Silsang Temple strictly follows the 9 steps to the Amitabha heaven illustrated in the painting of the sixteen meditations (Guan gyeong sip yukguan byeon sang do). Finally, most of the Amitabha Wooden Wall Sculptures are enshrined in Gyeongbuk province while the Buddhist Wooden Wall Sculptures in Yongmun Temple and Silsang Temple remain in their shelters. The completeness and engraving skill would be the only difference that you can find among the Amitabha Wooden Wall Sculptures located in Yongmun Temple , Daeseung Temple and Gyeongguk Temple in Seoul. Therefore, the same sample must have been referenced with miscellaneous scenes being inserted or excluded in different eras. Among those in the five temples mentioned above, the three seated Amitabha sculptures in Yongmun Temple are the only matching sculptures remaining alongwith the Amitabha wooden wall sculpture set behind it. The three seated Amitabha sculptures were made as a set with the Amitabha Wooden Wall Sculptures but those in the other four temples were destroyed over the course of variousinvasions. The three seated Buddhist sculptures are called ‘Amita Samjon Bulsang’ which represents the Buddha who is preaching at the gathering in the Amitabha paradise, welcoming and ranking the souls reincarnated in the Sacred Pond up to their devotion to the Buddha and their self-discipline.