흥천사 명부전 석조 지장보살삼존상 및 시왕상 연구

Abstract

The all statues of Judgement hall in Heungcheonsa-temple is made by Zeolite stone which called as Bulsuk(沸石). Even these case are also found in some temples as Girimsa of Kyungju where the Zeolite stone is produced, Bongguksa and Chungryongsa temple of Seoul, Youngjisa temple of Youngchun, Chunggoksa temple of Jinju(1660), Jangahnsa temple of Busan(1684), Seongjusa temple of Changwon(1681), but it is not very many. Zeolite stone was broadly used for the Thousand Buddha statues which were small and simply repetitive images. But the images of Kṣitigarbha triad and Ten kings of Hell are bigger, various and complicated shape. Nevertheless, all these images being made by this difficult materials is a special case, which is worth studying in a group. In these cases, the sculptor’s name were known as Seungil(勝日) of Chungryongsa and Seungho(勝浩 or 勝湖) of Jangahnsa and Seoungjusa. Especially, the name Seungho is shown in other zeolite statues very often, but it had been regarded as his style is quite different with Heungcheonsa’s style which looks very unique atmosphere of childlike. But recently, Seungho’s early art work of Kṣitigarbha Bodhisattva was newly found in Namjijangsa temple in Daegu. It was made at the year of 1659 and more similar with Heungcheonsa image. Therefore the possibility of Seungho had made the Heungchunsa images is become higher. Furthermore we can dating Heungchusa images more detail as Seungho’s earlier works as 1650’s. The mudra of Kṣitigarbha Bodhisattva in Heungcheonsa is contrary compare with other cases. And it is same with the statue of Namjijangsa even it is little bit different as hold something in its right hand. But the long drooped finger is unique articulate of Heungcheonsa image. Another characteristic of Heungcheonsa images is the fact that the three layers coat of attendant King Mudok and Monk Domyung are carved with great care. In addition, the inclusion of various positions in the Ten Kings images can be pointed out as a feature. The pose of crossing hands, half lotus sitting posture, white beard etc. were appeared in Heungcheonsa’s Ten Kings. In particular, we can read the intention of arranging these characteristic images in bisymmetry way of the both side of Kṣitigarbha triad. In conclusion, the statues of judgment hall in Heungcheonsa show the very exemplary model of Naraka iconography in Joseon Dynasty by the meaning of various forms and bisymmetry arrangement.