17세기 후반 조각승 색난의 활동과 그 계보
A Study on the 17th-Century Sculptor-Monk Saengnan(色難) and the lineage
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본 논문은 17세기 후반부터 18세기 전반까지 호남(湖南) 지역을 중심으로 여러 사찰에 불상을제작한 조각승 색난(⾊難, ⾊蘭, 賾蘭)에 관한 연구이다. 현재 조각승 색난과 관련된 불상 조성발원문이나 사적기 등에 관련 내용은 1660년대(1건), 1670년대(2건), 1680년대(12건), 1690년대(6건), 1700년대(10건), 1710년대(1건), 1730년대(1건) 등 총 33건이다. 이 가운데 불상 조성은 26건 200 여점이 남아있다. 이와 같은 문헌기록을 통하여 조각승 색난의 활동과 사승 관계 및 불상 제작의작업 현황 등을 접근하였다. 조각승 색난은 자료의 한계로 생몰연대(⽣沒年代)를 밝힐 수 없지만, 1640년을 전후하여 출생해서 1660년대 불상 제작의 수련기와 보조화승을 거친 후, 수화승으로 1679년에 고흥 석문암 불상제작을 시작하여 고흥 능가사, 강진 정수사, 구례 천은사, 화순 쌍봉사, 해남 성도암과 대흥사, 구례화엄사, 영암 도갑사, 고흥 금탑사 등 전라도 사찰의 영산전이나 명부전 등에 많은 불상을 제작하였고, 1698년에 고흥 능가사 범종, 1707년에 선문염송설화(禪門拈頌說話) 간행, 1711년에 고흥 능가사 기와, 1730년에 옥과 관음사 대은암 범종 제작 시 시주자로 참여하였다. 조각승 색난은 응원과 인균의 계보에 속하여 응원 → 인균 → 천신 → 색난, 충옥 → 초변, 일기 → 하천, 순민, 서준→ 지연 등으로 이어져 17-18세기 호남을 대표하는 조각승 계보이다. 이외에도 색난이나 그 계보조각승이 제작한 것으로 추정되는 불상은 합천 해인사, 고성 옥천사, 밀양 표충사 등 남부 지역에산재하고 있다. 색난은 전남 고흥 능가사에 거주하였기에 조계산을 위주로 활동한 부휴문도에 속한것으로 보인다.
Abstract
This paper examines the sculptor-monk Saengnan (⾊難, ⾊蘭, 賾蘭), who was active in the Honam (湖南) region from the late 17th century to the early 18th century, and his contributions to Buddhist sculpture across various temples. Currently, a total of 33 records related to Saengnan have been identified in inscriptions, votive texts, and historical accounts: one from the 1660s, two from the 1670s, twelve from the 1680s, six from the 1690s, ten from the 1700s, one from the 1710s, and one from the 1730s. Among these, 26 records pertain to the creation of Buddhist statues, with over 200 statues still extant. Through these documentary sources, this study explores Saengnan’s activities, his master-disciple relationships, and the process of Buddhist statue production. Due to the limited availability of historical records, Saengnan’s exact birth and death dates remain unknown. However, it is estimated that he was born around the 1640s and began training in Buddhist sculpture in the 1660s, initially as an assistant painter-monk. He became a lead sculptor-monk in 1679, starting with the Buddhist statues at Seokmunam hermitage in Goheung. Over the following decades, he created numerous statues for Yeongsanjeon and Myeongbujeon halls in temples across Jeolla Province, including Neunggasa temple in Goheung, Jeongsusa temple in Gangjin, Cheoneunsa temple in Gurye, Ssangbongsa temple in Hwasun, Seongdoam temple and Daeheungsa temple in Haenam, Hwaeomsa temple in Gurye, Dogapsa temple in Yeongam, and Geumtapsa temple in Goheung. In addition to his role as a sculptor, Saengnan actively participated as a donor in various temple projects. Notable examples include the casting of a temple bell at Neunggasa in 1698, the publication of Seonmun Yeomsong Seolhwa(禪門拈頌說話) in 1707, and the production of roof tiles at Neunggasa in 1711. He was also involved as a sponsor for the casting of a temple bell at Daeunam hermitage in Gwaneumsa, Okgu in 1730. Saengnan belonged to the lineage of the monks sculptor Eungwon and Ingyun, forming a significant transmission lineage in Honam Buddhist sculpture from the 17th to 18th centuries. This lineage progressed as follows: Eungwon, Ingyun → Cheonsin → Saengnan, Chungok → Chobyeon, Ilgi → Hacheon, Sunmin, Seojun → Jiyeon. In addition, statues attributed to Saengnan or his disciples have been identified in various southern regions, including Haeinsa temple in Hapcheon, Okcheonsa temple in Goseong, and Pyochungsa temple in Miryang. Given that Saengnan resided at Neunggasa in Goheung, it is likely that he was associated with the Buhyu Buddhist monk lineage, which was centered around Jogyesan Mountain.