강화 전등사 木造地藏菩薩坐像과 조각승 守衍

Abstract

This paper is a study for a monk sculptor, Suyeon. Recently, the votive inscrips for the Jeondeungsa Myeongbujeon Buddhist sculptures were found. This votive inscription for Myeongbujeon Buddhist sculptures provides critical information for analyzing the late 17th Joseon dynasty s Buddhist sculpture s stylistic transition. This votive inscription shows that Suyeon has two different jobs for this project in 1636. The first one is Jeungmyeong. A person, who usually takes this position, is required to understand detailed Buddhist ritual processes, so this person watched whether or not sculptors carve a properform of Buddhist sculptures. The second position is a leader of monk sculptors for Jeondeungsa Myeongbujeon sculpture. He seems to be a renaissance monk who is a seasoned theoretician as well as a competent sculptor. As a leader of monk sculptor school, Suyeon participated in various Buddhist sculptures rendering projects. In 1623, Suyeon and his disciples made three Buddhas in Jeondeungsa main hall, and in 1625, Suyeon s group took a charge for Naju Ssanggyesa Sakyamuni triad and 16 Buddha s disciples. In 1634, Suyeon and other sculptors created wood seated ksitigarbha and the Ten King in Okgu Bocheonsa and rendered Namwon Bungguksa s wood seated Buddhas triad in 1639. Jeondeungsa wood seated ksitigarbha is mid size image, whose height is 107cm. Its upper body is slightly bended, andtwo hands are separately carved. The hand position for this sculpture is that its two thumbs and middle fingers are attached. This hand form is the most common in the late Joseon dynasty s Buddhist sculptures. This ksitigarbha have a squared face, slightly open eyes, cylinder shape nose, and compressed mouth. The garment drapery patterns for this sculpture are displayed by several lines. For this paper, I can present Suyeon monk sculpture school s pedigree: Taejeon(actively engaged in 1600-1615), Suyeon(-1615-1639-), Seongok(-1619-1625-), Unhye(-1649-1680-), Gyeongim(-1665-1680-). In addition, most of temples, enshrining Suyeon School s Buddhist sculpture, are located in coast line of west see. As a result, Suyeon School seemsto cultivate this area for their sculpture projects. Base on stylistic features of Suyeon s School, we can assume other Suyeon School s works in different region. Two of examples are in Ganjin Baeglyeonsa, and Haenam Mihwangsa s ksitigarbha. Both of wood Ksitigarbha artists seem to be Unhye.