순천 선암사 불교 공예품의 현황과 특징

Abstract

The Seonamsa Temple underwent many changes during the wars of the Joseon Dynasty as well as a major fire; however, much of its Buddhist heritage remains as it went through a reconstruction. This study focuses on Buddhist craftworks at the Seonamsa Temple and discusses the current status and characteristics of Buddhist craftworks used for various purposes at the temple. Buddhist craftworks in the Seonamsa Temple’s collection are mostly made of wood and metal, housing a total of 137 items and 258 pieces. Many craftworks have been created and passed down. One of the most noticeable aspects of Buddhist metalwork produced in Joseon temples is the change in materials. Brassware, which was an expensive metal until the Goryeo Dynasty, went into use for various craftworks in the late Joseon Dynasty. This is because craftsmen who had been making brassware products during the Joseon Dynasty began making them for the common people, which revitalized the production and consumption of brassware. This social atmosphere also influenced the production of craftworks in temples. The tea bowls, candlesticks, incense burners, and canisters used in temples at the time were made of brass. The Seonamsa Temple also has a large collection of Buddhist craftworks made of brass. Buddhist craftworks had a distinct purpose and were made for specific use as religious objects. This study categorized the crafts into ceremonial, ritual, and offering tools, and analyzed the main craftworks produced for each purpose. These craftworks have the characteristics of inheriting traditional elements while attempting to transform their forms, thus establishing the style of Buddhist craftworks in the late Joseon Dynasty. As a representative temple for systematically holding various Buddhist rituals, the Seonamsa Temple holds records from the Joseon Dynasty related to rituals. However, there are many Buddhist craftworks in the temple that are related to Buddhist rituals. Therefore, it is assumed that Buddhist rituals were constantly practiced at the Seonamsa Temple. Thus, this study examined the continuity of Buddhist rituals at the Seonamsa Temple by comparing Buddhist craftworks and paintings. Although one Buddhist temple bell was stolen, the Seonamsa Temple still has four Buddhist bells, making it a treasure trove of late Joseon bells. These Buddhist bells were created between the seventeenth and nineteenth centuries by the active master bell makers Kim Yong-am, Kim Sung-won, Yoon Chwi-eun, and Kwon Joong-sam, and represent the characteristics of late Joseon bells. This study examined the activities of the master bell makers who produced each bell. Through this, the study analyzed and compared them by categorizing the detailed expressions of the bells in the Seonamsa Temple's collection into yongnew, sanskrit, yeongwak, yeonroe, and image of bodhisattva. The Buddhist bells in the Seonamsa Temple collection attempted to express new patterns while inheriting the features of the previous period’s bells, which can be seen through the use of jeonpae patterns.