1676년 <상주 북장사 극락보전 목조아미타여래삼존좌상>과 조각승 지현

초록

This article is a study on the Wooden Seated Amitabha Buddha Triad located in Kŭngnakpojŏn (Paradise Hall) of Pukchangsa Temple (北長寺) in Sangju City of North Kyŏgsang Province. The central figure of seated Amitabha is flanked on both sides by the attendant bodhisattvas Avalokiteśvara and Mahasthamaprapta. The principal image of seated Amitabha at the center is 189.5 centimeters high, which is considered relatively large among the Buddhist sculpture of the late Joseon period(1609-1900). The image of Amitabha is also notable for its fine sculptural qualities and detail. Unfortunately, all three figures of the Pukchangsa Buddha triad are missing their chosŏnggi, the paper sheet ordinarily enclosed inside the sculpture, which contains the date the statue was created. Consequently, it is impossible to emphatically determine who made the Pukchangsa Buddha Triad. However, extant historical records from 1706 regarding the Pukchangsa Buddha Triad were discovered in the “Chŏnuyŏnggŏn’gi” section of Pukchangsasajŏkki. According to these records, the triad underwent its final inspection in 1676 by the monk Soyŏngdang Sinkyŏng who was tasked with this responsibility at Pukchangsa Temple. Thus this account reveals exactly when the Buddha triad was created and who oversaw its finishing examination upon its completion. Nevertheless, there is still no way of decisively ascertaining the identity of the original sculptor based on textual evidence alone. A midst these circumstances, this article aims to establish which monk created the 1676 Pukchangsa Buddha Triad and the nature of the sculptor’s relationship with Sin Kyŏng of Soyŏngdang. Lastly, the article also explores the significance and role of the Pukchangsa Buddha Triad against the larger scheme of Buddhist sculpture from the late Joseon period. Until now, the Pukchangsa Buddha Triad was generally ascribed to Hŭijang, a well-known monk sculptor of the mid-seventeenth century. There are several issues that challenge this hypothesis. First, it is unclear whether or not Hŭijang was still working in 1676 when the Buddha triad was made. Second, there is another more compelling candidate to consider. Chihyŏn, an apprentice of Hŭijang, created the Ksitigarbha Bodhisattva and Ten Underworld Kings of Yongmunsa Temple in Namhae. This sculptural work is nearly identical in style and form to the Pukchangsa Buddha Triad. The close sculptural affinity between the two examples makes a strong case for crediting Chihyŏn over Hŭijang as the original sculptor of the Pukchangsa Buddha Triad. Moreover, another example of the Ksitigarbha Bodhisattva and Ten Underworld Kings made by Chihyŏn is located in Myŏngbujŏn (Judgement) Hall of Pukchangsa Temple, which only increases the likelihood that Chihyŏn sculpted the Buddha triad during his time at the temple. Indeed, it was a common occurrence for one monk sculptor to take on the exclusive responsibility of creating the numerous images for a temple and its many spaces. The Pukchangsa Buddha Triad is undeniably the work of a monk sculptor affiliated with Hŭijang and thus a product of the most renowned group of sculptors in the mid to late seventeenth century. Among the many monk sculptors who worked under Hŭijang, it is most likely Chihyŏn who should be credited for the Pukchangsa Buddha Triad. The triad is a relatively large-scale example of Buddhist sculpture from the late Joseon period. Most importantly, it features a multitude of stylistic elements that is representative of Hŭijang and his followers’ work such as an imposing body and a unique expression of drapery. As such, the Pukchangsa Buddha Triad is to be celebrated as one of the symbols of Sangju that is enshrined in the Main Hal lof Pukchangsa Temple, an important temple of the late Joseon period.

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