19世紀 佛敎建築의 硏究 : 서울·경기지역을 중심으로 = (A)study on the Buddhist architecture of the 19th century : Seoul and Gyeonggi province

다국어 초록 (Multilingual Abstract)

The Buddhist temples remained in existence despite the state policy of oppressing the Buddhism during the Joseon Period, and even increased in number with the onset of the 19th Century. The increase in the number of Buddhist temples meant an increase of the Buddhist believers, which enables a presumption that there had been a change in the policy toward Buddhism. Seoul and Gyeonggi Province along with Gyeongsang Province is the region that showed a distinguishing increase in the number of Buddhist temples during the period. Seoul and Gyeonggi region, because of its proximity to the capital, exhibits a quality that sets the region special from other regions politically, academically, and culturally. The small size of the temples and the arrangement of the multi-function building called 'Dae-bang(大房)‘ situated on the opposite side of the main pavilion are a couple of features that characterize the Buddhist temples in Seoul and Gyeonggi region in the 19th Century. Also, 'Pan-jeon(板殿)’ of Bongeunsa Temple, the only building among the 19th Century Buddhist buildings for enshrining the woodblocks for the printing of Buddhist Scriptures, needs examination because it was presumed to have been constructed according to the features of the Seoul and Gyeonggi region of the time. 'Dae-bang' and 'Pan-jeon' were the kinds of Buddhist buildings that provided a motivation for this thesis, but the scope of study was further expanded to take into consideration all the Buddhist buildings constructed in Seoul and Gyeonggi region during the 19th Century and which had been measured and were provided with a plan.
'Dae-bang' is a compound of a room, a 'Nu-maru(누마루)‘ and a kitchen, a multi-function building which shows a mixture of the public quarter of the Buddhist pavilion and a private living quarter of the priests. Such a plan type can also be observed in the living quarters of the royal palace and the ordinary houses in the 19th Century, thus, it can be presumed that there had been mutual relations among the Buddhist architecture, royal palace architecture, and the ordinary residence architecture. However, it is difficult to make out the reason why 'Dae-bang' was constructed on the opposite side of the main pavilion. Through the written materials related to the Buddhist pavilions of Heungguksa Temple, it can be grasped that what was called the Manserubang(萬歲樓房) was constructed where there had been a Manseru(萬歲樓), to which the functions of a private living quarter and the public Buddhist pavilion were added. Thus, it can be understood that the Dae-bang was built to replace the 'nu-maru(a kind of turret)' to which various functions were added, resulting in the change of the overall purpose of the building. Previously, Dae-bang has been understood as a kind of 'Inbeopdang(人[仁]法堂)' or a 'Yeombuldang(念佛堂)' considering the fact that multi-function building 'Inbeopdang' used to be constructed in a small sized temples where conditions were not suitable for constructing a main pavilion. However, it does not seem proper because most of the Dae-bang were added after the construction of the main pavilion. Also, there has been presumptions that Dae-bang corresponds to the Yeombuldang, pavilion for the prayer chanting, taking into consideration that prayer chanting was the main trend of faith at that time, which, however, also needs reconsideration. The prayer chanting was the main trend of Buddhism during the 19th Century in Joseon, however, it flourished in the 20th Century in the Seoul and Gyeonggi region. Therefore, the function of the Dae-bang should be inferred in relation with the characteristics of the Buddhist temples in the region. Heungguksa Temple in Namyangjoo is where Gongwonso(公員所) was established, thus, there is a high possibility Dae-bang was constructed for the courtladies or the officials from the palace. Daebang in Heungcheonsa, Hwagyesa and Bogwangsa temples were constructed with the financial support of Heungseon Daewongun(興善大院君), thus, it can be understood as the plan type of the Buddhist temples supported by court in the 19th Century.
Panjeon in Bongeunsa Temple is the only such kind constructed in the Seoul and Gyeonggi region, and is judged as an important building which gathered numerous priests to the site for the engraving of the woodblocks and the completion of the building, and which attracted the massive financial support of the court and officials. It was an immense project which was proceeded with Chusa Kim Jeonghee playing the role of a mediator between the Buddhist circle and the court, officials and scholars, and which can be identified as the monumental event in the cultural history of the 19th Century.
The formal elements of the Buddhist architecture of the Seoul and Gyeonggi region in the 19th Century can be summed as follows;
First, most of the Buddhist pavilions excluding the Dae-bang and Pan-jeon are small in size, smaller than 20 pyongs(1 pyong = 3.3 ㎡)
Second, the Buddhist altar adjoin one of the walls so as to secure wider space within the building.
Third, the windows are prepared only in the facade and the three sides are wood plated.
Fourth, Dapo(多包)and Ikgong(翼拱) types are the major form of constructing the capital between the pillars and the eaves. Generally, Dapo types are applied in main pavilions like the Daewoongbojeon(大雄寶殿) and Ikgong types are applied in other buildings like Myeongbujeon(冥府殿). Ikgong types were applied in the construction of Daebang and Panjeon.
Fifth, Yongdu(龍頭) and Bongdu(鳳頭) pieces were applied as decorative elements in most of the pavilions.
Sixth, Daebang can be categorized into two types; 'H' plan and '┨' plan, each side of which are constructed in different architectural forms.
The support toward Buddhism was conducted mainly by courtladies throughout the Joseon period, however, it is noteworthy that with the onset of the 19th century, there were quite an amount of support made by men including the king toward Buddhism. It is implicative that Heungcheonsa, Hwagyesa, Bogwangsa, Unsuam, and Yonggungsa temples were constructed with the support of Heungseon Daewongun. Courtladies, the traditionally eager Buddhist supporters, also engaged themselves in supporting numerous Buddhist constructions. Especially, the support on the part of Queens Cho and Hong toward Hwagyesa Temple was distinguishing. The influential families like the Kims of Andong and Chos of Pungyang spared no expenses in supporting the temples. It is intriguing to find out that the men of power themselves drew ahead instead of hiding behind the names of their spouses in the support for Buddhism.
In the 19th Century, the artisans of the Buddhist architecture were shifted from priests to civilians. With the implementation of the Daedongbeop bill, workers began to be payed wages for their work, and that has so far been attributed as the major reason behind such a shift. However, it should also be considered that the circumstances were such that priest artisans were not nurtured during the period.
The following are the conclusions derived from fragments of written records gathered and analyzed in this thesis.
First, Chimgyeminyeol(枕溪敏悅) who was the chief artisan(都片手) in the construction of the Panjeon in Bongeunsa Temple in 1853, was also active as the chief artisan in Seokdaeam Hermitage of Shimwonsa Temple of Cheorwon and Geonbongsa Temple of Goseong in Gangwon Province, and Donghaksa Temple in Daejeon as well as the temples in Seoul and Gyeonggi region including Hwagyesa and Hweryongsa Temples.
Second, in the case of Kim Kwangwol(金光月) who was twice engaged in the construction of Buddhist buildings in Hwagyesa temple as Bupyeonsu(副片手), it is highly likely that he is the same person as Kim Kwangwol who worked as Bupyeonsu in the construction of the Nu of Bogwangsa Temple of Paju around the same time.
Third, Kim Deokwon(金德元) who worked as Bupyeonsu in the construction of Hwagyesa Temple in 1866 is presumed to have participated also in the construction of the priests' living quarters in Heungcheonsa Temple in 1870.
Fourth, Ma Baeknyong(馬白龍) who worked for the construction of Heungcheonsa Temple as Nipyeonsu(泥片手) also took part in that of Gyeongungung Palace(慶運宮).
Through the activities of the artisans of Buddhist architecture, it can be confirmed that the priest artisans continued to work until the latter half of the 19th Century, and that skillful artisans were active for all kinds of construction regardless of region and type of building.
Through the study, it can be understood that the social, cultural, Buddhist and architectural tendencies were quite different in Seoul and Gyeonggi region in the 19th Century from other regions, and Pan-jeon of Bongeunsa Temple and Dae-bang of each temples are such examples. It was also an outcome of this study to find out that the Buddhist architecture shared the formal features with the palace and residential architectures. It is a regret, however, that only a limited number of the 19th Century Buddhist temples located in Seoul and Gyeonggi region were included in the study. With the measurement of the other Buddhist buildings in the region in the future, the characteristics of the 19th Century Buddhist architecture in Seoul and Gyeonggi region will be further clarified. Also with the study of the Buddhist architecture of other regions, the overall picture of the 19th Century Buddhist architecture will be complete, which will be left as a future task.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 19세기 서울·경기지역 佛敎建築의 造成背景 = 9
• 1. 서울·경기의 지역성 = 9
• 2. 佛敎系의 樣相 = 16
• 3. 建築系의 動向 = 35
• Ⅲ. 19세기 서울·경기지역 불교건축의 沿革 = 41
• 1. 京畿道 南陽州 興國寺 = 41
• 2. 서울 삼성동 奉恩寺 = 50
• 3. 서울 敦岩洞 興天寺 = 57
• 4. 서울 수유리 華溪寺 = 64
• 5. 경기도 坡州 普光寺 = 71
• Ⅳ. 19세기 서울·경기지역 불교건축의 現狀 = 75
• 1. 佛殿 = 75
• 2. 板殿 = 100
• 3. 大房 = 105
• Ⅴ. 19세기 서울·경기지역 불교건축의 형식 = 116
• 1. 분류의 기준 = 116
• 2. 형식 = 119
• Ⅵ. 19세기 서울·경기지역 불교건축의 특징 = 128
• 1. 평면과 비례 = 128
• 2. 벽과 창호구성 = 134
• 3. 공포 = 139
• Ⅶ. 19世紀 서울·경기지역 佛敎建築의 後援者와 建築匠人 = 146
• 1. 後援者 = 147
• 2. 建築匠人 = 171
• Ⅷ. 19세기 서울·경기지역 불교건축의 意義 = 181
• Ⅸ. 맺음말 = 184
• 參考文獻 = 190
• 표목록 = 200
• 도판목록 = 202
• 도판 = 208
• ABSTRACT = 239