17세기 후반 조각승 勝浩 作 十王像 硏究

Abstract

The activity of rendering Myunbujeon(冥府殿) sculptures reflects the 17th century's social environment. In the first half of the 17th century Joseon dynasty faced two invasions form Japan, called as Imjinwaeran(壬辰倭亂), and Manchu, Byeongjahoran(丙子胡亂). These two invasions brought out a huge amount of casualties. In addition, capricious climate change, which was stimulated by the little ice age in 17th century, often had agricultural productions decline sharply in the second half of the 17th century. Especially during 1670-1671 the effect of famine was catastrophic. According to the Annals of the Joseon Dynasty(朝鮮王朝實錄), a numbers of fatalities are over one million. Such social phenomena in which death was widespread all over the country, would made people deem after life and provide a suitable background for pervading belief of Ksitigarbha and the Ten kings. In the late 17thcentury, monks culpture schools seem to have their own domains. Seungho(勝浩)’s school’s domain was Gyeongsang(慶尙) province and Seakan(色難)’s territory was coast areas of the South Sea. Daneung(端應)’s area was the northern part of Gyeongsangdo. By participating in repeated sculpture creating projects within their territories, each monk sculptor school could develop own idiosyncratic features, such as the hat’s decoration patterns, a statue’s posture and the shape of robes. The three records, which indicated that Seungho was the main artists for Ksitigarbha and the Ten kings statues, have been found: Cheng-do Deoksa(德寺) in 1678, Changwon Seongjusa(聖住寺) in 1681 and Gijang Jangansa(長安寺) in 1684. Based on three temples’ the Ten kings sets, this study will present the distinct features of Seungho’ the Ten Kings. In addition, by using these features of Seungho’s the Ten Kings, I try to speculate other Seungho school’s the Ten Kings statues, all of which do not have any written documents for proving the artists names as well as the producing date. The statues of Ksitigarbha and the Ten Kings, rendered by Seungho School, display distinct features. The first Seungho school used a same face mask for one of the Ten King statues. The hallmark of this face mask is identified by a senior face, having a pair of thick eyebrows and a beard. This senior figure is found in every Seungho school’s the Ten Kings set. The second is a unique drapery pattern of the Ten Kings. As a judge of each hell court, every King wears official garments, which are consisted of several different layers of clothes. One of clothes is to cover the king upper waists. When Seungho school carved this garment’s pleats, they used a simple decorative pattern like ‘nnnn’ shape instead of creating delicately folded draperies. This plain manner for making pleats applied to Ten Kings thigh parts. We can find symmetrical creased draperies on every Ten Kings. In addition when the King sits on a cross leg position, a casting drapery appears to be a rib of fan. The third we can trace a transitional decorative motif on the Ten Kings hat. Seungho school’s the Ten King statues were created between 1678 and 1683. Although this 6 years term can be regarded as a relatively short period to conclude one artist’s stylistic originality, however, the ten kings’ hats display a distinctive changing ornamental motif. After 1680s a peony blossom became a central design pattern for hat. As long as the times go by, disposition of the usage of a flower subject for the King hat became more frequent. In addition inserting an animal figure underneath of the King only can be seen around 1680s works. These two features are the most significant shift from 1670s’ works and 1680s’. Based on these stylistic features of Seungho schools’ the Ten King statues, we can find other Seoungho schools works in different regions. Although there no written documents which can prove that dates, participated artists and patrons lists, have found, these works share Seoungho schools ten king stylistic features. We can find Seoungho school’s the Ten King sculptures in Uiseong Sujeongsa(水淨寺), Gyeongsan Hwanseongsa(環城寺), Gochang Chamdangam(懺堂庵), Uljin Buryeongsa(佛影寺), Miryang Pyochungsa(表忠寺).