장인의 관점에서 본 조선후기 목조불상의 제작 기법

다국어 초록 (Multilingual Abstract)

Hundreds of wooden Buddha statues from the Goryeo Dynasty to the late Joseon Dynasty still remain. However, research on materials used to make a Buddha statue, making process and cost, has not been systematically fulfilled yet due to the absence of documents related to their production. By interpreting the remained records with my experience as an expert, therefore, the materials and making process related to the production of wooden Buddha statues in the late Joseon Dynasty.
Wooden Buddha statues in the late Joseon Dynasty were mostly made between the first half of the 17th century and the first half of the 18th century. After that (the late 18th century – the late 19th century), repairing and/or re-gilding the Buddha was the main work. Because the wooden Buddha had damage when hundreds of temples were burned down by the Japanese invasion (1592 – 1597). Hundreds of wooden Buddha statues were created in the process of remaking and restoring the temples after the war.
First of all, based on 294 optative sentences, the names calling the artisan of wooden Buddha statue were verified according to the era. The names were used in order Hwawon (畫員, 192 cases), Yanggong (良工, 26 cases), Geumo (金魚, 21 cases), and Pyeonsu (片手, 12 cases). The term Hwawon was shown from the early 17th century to the early 18th century and Yanggong mainly from the late 17th to the 18th century. Whereas, Geumo was consistantly used between the late 17th century and the late 19th century. Nowaday, the names are called a wooden sculpture, Geumo, or Bulmo(佛母).
The work to make wooden Buddha statues proceeds in the order of wood selecting, processing, carving, lacquering, gilding, and dedication ceremony. Previously, the work process might be the same as described above. Various materials, e.g. such as wood, gold, cloth, lacquer, glue(阿膠), and iron nails, used to make a wooden Buddha statue were verified that have been provided by individual donors or purchased by temples using rice or money from the donors.
During the Joseon Dynasty, wooden Buddha statues were made of Jubmokjo(椄木造), which makes wooden Buddha statues by combining several pieces of wood, rather than Ilmokjo(一木造) which makes the wooden Buddha using one piece of wood. Depending on the size of the Buddha statue, it is common to divide it into two to five parts, including the face mask, body, hand, and lower body, and join them together by glue, fish glue, and iron nails. The biggest difference in the structure of wooden Buddha statues between of the Goryeo Dynasty and the Joseon Dynasty is whether to use iron nails. The Buddha statues in the Goryeo Dynasty did not use iron nails. In addition, the hand was separately attached to the wrist in the former time, however, after the first half of the 17th century, the hand was carved separately and fit into the wrist.
Most wooden Buddha statues began production between February and April of the lunar calendar and were completed between May and August. This period would be related to the temperature at which the lacquer is well-dried. Usually, to dry lacquer well, it needs to be 25°C and 80% humidity. As a result, lacquer could be applied immediately after the production of the Buddha statue was completed. It was verified that wood was cut down in winter by tree-ring dating to make the Buddha statue and carved immediately without drying. Ginkgo and pine woods were used a lot for the body of the Buddha, and the hands were mainly alder and willow woods. In addition, pine woods were mainly used for the pedestal and base. The results would indicate that tree species were selected depending on the parts of the Buddha statues.
When creating wooden Buddha statues in the late Joseon Dynasty, a traditional technique called bebareugi was applied, which wraps the Buddha statues using ramie, hemp, or Korean paper and then lacquers them. The bebareugi seems to prevent the dimensional change and split of wooden statues. To verify, bebareugi was applied to wood blocks of pine and sculptures of ginkgo and then it was verified that the traditional technique helps to prevent wood moisture adsorption and defects by drying. In addition, the shrinkage of non-treated woods after cyclic wet and dry weathering were 2.01% and 1.66% (p<0.05), respectively, so that, it could be confirmed that bebareugi is an effective traditional technique to prevent the dimensional change and defects by drying of wooden Buddha statues.

목차 (Table of Contents)

• 차 례
• Abstract ⅵ
• 표차례 ⅸ
• 그림차례 ⅹ
• Ⅰ. 서 론 1
• 1. 연구 배경과 목적 1
• 2. 연구범위 및 방법 4
• Ⅱ. 목조불상의 조성 과정과 도구 7
• 1. 서론 7
• 2. 목조불상의 조성 과정 7
• 2.1. 목조불상의 부위별 명칭 7
• 2.2. 목조불상의 제작 과정 8
• 2.3. 현대 목조불상의 제작 도구 21
• Ⅲ. 조선후기 목조불상 조성 장인의 명칭과 역할 39
• 1. 서론 39
• 2. 자료 및 방법 39
• 2.1. 분석 자료 39
• 2.2. 분석 방법 40
• 3. 결과 및 고찰 40
• 3.1. 불상 제작에 참여한 장인의 명칭 40
• 3.2. 불상 제작에 참여했던 승장(僧匠) 41
• 3.3. 불상 제작에 참여한 장인의 구분 44
• 3.4. 불상 제작에 참여한 장인의 인원수 44
• 3.5. 불상 제작에 필요한 재료의 조달 49
• 3.6. 불상 제작에 참여한 장인에 대한 보수 50
• 4. 결론 50
• Ⅳ. 조선후기 목조불상 조성의 계절적 시기와 시간 52
• 1. 서론 52
• 2. 자료 및 분석 방법 53
• 2.1. 자료 53
• 2.2. 분석 방법 53
• 3. 결과 및 고찰 53
• 3.1. 목조불상 조성 및 중수 시기 53
• 3.2. 목조불상 조성의 계절적 시기 54
• 3.3. 목조불상 조성 기간 55
• 3.4. 목조불상 제작에 참여한 장인의 인원수 56
• 3.5. 목조불상의 목재 준비 기간 57
• 4. 결론 58
• Ⅴ. 조선후기 목조불상의 구조와 주요 수종(樹種) 59
• 1. 서론 59
• 2. 자료 및 분석 방법 59
• 2.1. 자료 59
• 2.1.1. 분석 자료 59
• 2.1.2. 분석 기간 59
• 3. 결과 및 고찰 60
• 3.1. 목조불상의 구조 방법 60
• 3.1.1. 안동 봉정사 목조관음보살좌상 60
• 3.1.2. 서울 개운사 목조아미타여래좌상 63
• 3.1.3. 서울 수국사 목조아미타여래좌상 67
• 3.1.4. 진주 월명암 목조아미타여래좌상 71
• 3.1.5. 진주 청곡사 목조석가여래삼존상 73
• 3.1.6. 거창 심우사 목조여래좌상 79
• 3.1.7. 속초 신흥사 목조지장보살삼존상 81
• 3.1.8. 칠곡 송림사 목조석가여래삼존좌상 81
• 3.1.9. 소결 87
• 3.2. 불상 조각에 사용된 목재의 수종 88
• 3.2.1. 몸체 92
• 3.2.2. 수인 92
• 3.2.3. 밑판 92
• 3.2.4. 대좌 92
• 3.3. 개별 목재의 장점과 단점 93
• 3.3.1. 소나무 93
• 3.3.2. 은행나무 93
• 3.3.3. 피나무 93
• 3.3.4. 단풍나무 94
• 3.3.5. 오리나무 94
• 3.3.6. 버드나무 94
• 4. 결론 95
• Ⅵ. 조선후기 목조불상 조성에 필요한 부재료와 조달 96
• 1. 서론 96
• 2. 자료 및 분석 방법 96
• 2.1. 자료 96
• 2.1.1. 분석 자료 96
• 2.1.2. 분석 기간 96
• 2.1.3. 분석 방법 97
• 2.2. 목조불상 조성에 필요한 부재료와 조달 97
• 3. 결과 및 고찰 98
• 3.1. 금 98
• 3.2. 포 98
• 3.3. 옻 98
• 3.4. 못과 꺾쇠 99
• 3.5. 기타 99
• 4. 결론 99
• Ⅶ. 목조불상의 형상 유지를 위한 베 바르기 100
• 1. 서론 100
• 2. 재료 및 방법 101
• 2.1. 재료 101
• 2.1.1. 소나무재 101
• 2.1.2. 은행나무재 102
• 2.1.3. 베바르기용 섬유 재료 102
• 2.1.4. 배접용 접착제 102
• 2.2. 베바르기 102
• 2.3. 건습 열화 시험 103
• 2.4. 3D 촬영 및 치수 분석 103
• 3. 결과 및 고찰 107
• 3.1. 건습 열화에 따른 함수율의 변화 107
• 3.2. 건습 열화에 따른 갈라짐 발생 108
• 3.3. 베바르기 유무에 따른 실연용 조각상의 차수와 형태의 변화 110
• 4. 결론 111
• Ⅷ. 결 론 113
• 참고문헌 115
• 감사의 글 118