송광사 僧寶 전통 형성과 高僧眞影의 상징성

Abstract

Songgwangsa Temple houses numerous monk portraits from the late Joseon and modern periods, including Portraits of Sixteen State Preceptors (1780) from the Guksajeon Hall (國師殿) and Portraits of Thirty-five Patriarchs (1911) from Pungam Yeonggak (楓巖影閣). It is also recorded that Songgwangsa and Bojoam Hermitage had monk portraits that have now disappeared. There was another set of Portraits of Sixteen State Preceptors in Bojoam, which was burnt down during the Jeongyu War Period (丁酉再亂, 1597-1598). Afterwards, a set of portraits of monks from the lineage of Buhyu Seonsu (浮休善修, 1543-1615) was produced and enshrined, which were also destroyed in 1908. The descendants produced the Portraits of Thirty-five Patriarchs to carry on the patriarchal faith of Bojoam and dedicated them to Pungam Yeonggak next to Guksajeon. Originally built in 1789, Pungam Yeounggak was the memorial of the monk lineage from Taego Bowu (太古普愚, 1301-1382) to Buhyu Seonsu and their descendants. However, as the Portraits of Thirty-five Patriarchs were newly enshrined in 1911, the Portraits of Thirty-three Patriarchs, which were previously enshrined here, were moved to the Daejangjeon Hall and its name subsequently changed. In addition, there is a record of Portraits of Three Buddhist Monks of Jigong, Naong, and Muhak being enshrined in the Haehaengdang Hall in the late 19th and early 20th centuries. According to other accounts, Naong and Muhak were originally included in the Eighteen Abbots, whose portraits were placed alongside Guksajeon’s Portraits of Sixteen State Preceptors. However, as the perception of the Seungbo (Sangha Jewel) centered on the Portraits of Sixteen State Preceptors grew stronger, it was separated and transformed into the Portraits of Three Buddhist Monks. As such, there were portraits of the same or different monk lineages at Songgwangsa and Bojoam, and these monk portraits were either maintained or newly created by the Buhyu lineage who oversaw Songgwangsa in the late Joseon Dynasty. The changes that the portraits have undergone - loss, displacement, and separation - have transformed the intentions of their creators. In the late Joseon period, the Buhyu lineage of Songgwangsa reworked the Portraits of Sixteen State Preceptors, which had been completed in the late Goryeo and early Joseon periods. In doing so, they eschewed the contemporary styles in favor of keeping the original form. The style of the Portraits of Sixteen State Preceptors influenced the seated form of the Portraits of Thirty-five Patriarchs, as well as the way they were mounted. Above all, the establishment of Portrait Pavilion, which houses portraits of monks from the Buhyu Lineage, next to Guksajeon, as well as housing portraits of monks from the Buhyu Lineage in Bojoam were the means of crystallizing the image of the heirs of history and the traditions from the late Goryeo Dynasty through the portraits. In addition, the symbolism of the chief monastery of Sangha Jewel was firmly formed through Portraits of Sixteen State Preceptors and Portraits of Thirty-five Patriarchs.