본문 바로가기
KERD
논문KCI 등재

17세기 중후반 운혜파의 조상 활동: 운혜와 경림

Unhye and Gyeongrim: The Masters of the Unhye School in the mid-late 17th century Korea

0

조회

0

다운로드

9

인용

0

참고문헌

키워드

주제분류미술

초록

17세기 조선의 불교계는 임진왜란으로 인해 파괴된 사찰의 재건이 가장 중요한 과제였으며, 불상 조성은 사찰 재건의 가장 핵심적인 요소였다. 불상 조성이 늘어남에 따라 조각가들의 수도 늘어났는데, 이들 조각가들은 수장(首長)을 중심으로 체계적인 집단을 이루어 활동하였다. 이 글에서는 17세기 중후반 가장 활발한 조상 활동을 펼친 조각가 집단인 운혜파의 형성과 변천을 알아보며, 17세기가 갖는 조각사적인 의의를 조명한다.

Abstract

A monk sculptor Unhye, the master sculptor of the Unhye School, played an active part in the area of Jeolla province in the mid-late 17th century. He was a worthy successor of the Suyeon School which was founded in the early 17th century. All of the Buddhist sculptures created by the Unhye School were made of woods. They had voluminous faces and bodies. The folds of the draperies were natural, rhythmic, and three-dimensional. Especially there was a unique expression of the drapery such as a leaf of lotus flower on the left knee. These stylistic features were expressed in all Buddhist sculptures which made by Unhye School for forty years, however they were not in sculptures made by the other Schools. I divided the sculptures made by Unhye School off four stages of period by style. The 1st stage of the Unhye style was the early 1650s. The sculptures made in this period were directly influenced by the statue of Kṣitigarbha, created by monk sculptor Yeongcheol in 1649, enshrined in Hwagye-sa temple of Seoul now. The statues look like young monk and they had most rhythmic and three-dimensional draperies in this period. The 2nd stage of the Unhye style was from late 1650s to late 1660s. The sculptures of this period had a strong, stable physique but their folds of draperies became insufficient sense of volume. The 3rd stage was from late 1660s to 1670s. Gyeongrim, a most brilliant disciple of the Unhye School, started to create his artworks as a master sculptor in this period. The faces of the statues were longer and thinner than those of the 2nd stage, so they were similar to the faces of the statues of the 1st stage. The folds of the draperies beame much simpler and flatter. The 4th stage of the Unhye style was from 1680s to the latest 17th century. The statues of this period were influenced by Gyeongrim's style basically, and the faces were longer and thinner than those of the former stage. The folds became much simpler so that the expression of the drapery such as a leaf of lotus flower on the left knee was disappeared.

참고문헌 (28)

  1. "高興楞伽寺木造四天王坐像造成發願文", ~
  2. "谷城道林寺木造阿彌陀佛坐像造成發願文", ~
  3. "谷城道林寺木造觀音菩薩坐像造成發願文", ~
  4. "公州麻谷寺木造都市大王坐像造成發願文", ~
  5. "綾州地獅子山雙峰寺諸殿記文輯錄", ~ (1802)
  6. "木浦達聖寺木造觀音菩薩坐像造成發願文", ~
  7. "雙峰寺事蹟記", ~
  8. "濟州月溪寺木造佛坐像造成發願文", ~
  9. "八影山楞伽寺天王門上樑記", ~ (1824)
  10. "海南瑞洞寺木造三方佛坐像造成發願文", ~
  11. "和順雙峰寺木造地藏菩薩坐像造成發願文", ~
  12. "和順雙峰寺木造阿彌陀佛坐像造成發願文", ~
  13. "興陽八影山楞伽寺事蹟碑", ~
  14. 금성종합건축사무소, "華溪寺實測調査報告書", 서울특별시, ~ (1988)
  15. 大韓佛敎曹溪宗總務院, "韓國戰爭과 佛敎文化財 III", 光州廣域市·全羅南道, ~ (2002)
  16. 木浦大學校博物館, "雙峰寺", ~ (1996)
  17. 文化公報部文化財管理局, "麻谷寺實測調査報告書", ~ (1989)
  18. 목포 달성사 목조아미타삼존불 조사 보고, 지방문화재 지정조사보고서(2), "成春慶", 전라남도, ~ (2000)
  19. 해남 서동사 목조삼존불 조사 보고, 지방문화재 지정조사보고서(2), "成春慶", 전라남도, 9~13 (2000)
  20. 화순 쌍봉사 지장전목조지장보살상 일괄 조사 보고, 지방문화재 지정조사보고서(1), "成春慶", 전라남도, ~ (2001)
  21. 溫陽民俗博物館, "1302年阿彌陀佛腹藏物의 調査硏究", 溫陽, ~ (1991)
  22. 朝鮮總督府, "官報 第1634號, 1932년 6월 20일 화계사, 華溪寺沿革", ~
  23. 成春慶, "達聖寺木造地藏菩薩 및 阿彌陀三尊佛", 文化史學, 14, pp.69~98 (2000)
  24. 송은석, "고흥능가사대웅전의 목조삼방불좌상", 항산안휘준교수정년퇴임기념논문집-미술사의정립과 확산 및 동양의 미술, 2, pp.176~196 (2006)
  25. 宋殷碩, "17세기 朝鮮王朝의 彫刻僧과 佛像", 박사, pp.2007
  26. 崔宣一, "전라남도和順雙峰寺木造地藏菩薩坐像과彫刻僧雲惠", 佛敎美術史學, 2, pp.199~217 (2004)
  27. 崔宣一, "朝鮮 後期 彫刻僧의 활동과 佛像硏究", 박사, pp.2006
  28. 최선일, "17세기 전반 彫刻僧 守衍의 활동과 佛像 硏究", 동악미술사학, (8), pp.149~171 (2007), 동악미술사학회

관련 논문AI추천

이 간행물의 다른 논문 (10건)