화약제조 공정의 초임계 유체 응용

송은석,김화용,김현수,이윤우,Song, Eun-Seok,Kim, Hwa-Yong,Kim, Hyoun-Soo,Lee, Youn-Woo 한국군사과학기술학회 2006 한국군사과학기술학회지 Vol.9 No.3

Micro- or nano-size particles are required to improve the combustion efficiency and stability in the case of solid explosives and propellants. The micro-structural properties of an energetic material strongly influence the combustion and explosion behavior. However, the traditional size reduction techniques, including milling, are not suitable for production of ultra-fine size particles. As an alternative to the traditional techniques, various re-crystallization processes based on supercritical fluids have recently been proposed. Supercritical fluids are fluids at temperatures and pressures above their critical point. In principle, they do not give problems of solvent contamination as they are completely released from the solute when the decompression occurs. Rapid Expansion Supercritical Solutions(RESS) and Supercritical Anti-Solvent Process(GAS/SAS) are representatives of a nano-size particle formation process of energetic materials using supercritical fluids. In this work, various fine particle formation processes using supercritical fluids are discussed and the results are presented.

Dry Sorbent Injection System 의 기 - 고계 반응 전산모사

송은석,이영수,이성철,류경옥,함성원,이용국 ( Eun Seok Song,Young Soo Lee,Sung Chul Yi,Kyong Ok Yoo,Seong Won Ham,Yong Kook Lee ) 한국화학공학회 1995 화학공학의이론과응용 Vol.1 No.2

完州 松廣寺 나한전의 제 존상과 조각승

송은석(SONG Un sok) 보조사상연구원 2017 보조사상 Vol.47 No.-

A written prayer engraved on the Śākyamuni statue enshrined in Songgwang-sa Temple reveals that the 500 or more statues of the Buddhas of the Three Periods (Kāsyapa, Śākyamuni, and Maitreya), Sixteen Arhats, Five Hundred Arhats, Indras, Messengers, Dragon Girls and Generals enshrined in Nahan-jeon Hall of Songgwang-sa Temple in Wanju were carved by a group of thirty monk-sculptors including Muyeom and completed in 1656. The involvement of such a large group of artists in the of hundreds of sculptural works inevitably resulted in the display of slight differences in sculptural style. In this study the style is analyzed on the basis of the detailed carving techniques ussed by the monk-sculptors recorded in the written prayer, which identifies some of the artists who participated in the carving of the Buddha Triad and the Sixteen Arhats. According to the analyses of the religious statues in Nahan-jeon Hall of Songgwang-sa Temple, the principal Buddha, Śākyamuni, and his Left Acolyte were carved by sculptors of the Muyeom School, the Right Acolyte and the First Venerable Monk by Daneung, and the Third Venerable Monk by Seongsun, who is believed to have been related with the Beopryeong School. The study also shows that the project to create and enshrine religious statues in Nahan-jeon Hall was conducted not by sculptors of the Muyeom School alone but rather as a collaborative effort involving several art schools led by Muyeom, Daneung, Cheonsin, and Sain among others. It is probable that the collaboration between artists from different schools was made possible by the participation of Byeogam Gakseong, a highly influential monk at that time. A closer look at the statues in connection with the written prayer suggests that Dogyun belonged to the Muyeom School, while Gyehun and Hyeonjun, who occupying a higher position than the head monk-sculptor, were closely related with Muyeom. The two names, Sain (思印) and Sain (思忍), refer to two different artists although they are pronounced exactly the same way in Korean, as both appear in the written prayer. It is probable that the first, Sain (思印), was a member of the Hyeonjin School, while the second, Sain (思忍), was a member of the Suyeon School. Daneung, the eleventh name on the list of thirty sculptors, was probably given the task of carving the Right Acolyte Bodhisattva in the Buddha Triad because he was a highly skilled sculptor. An analysis of the style of his work shows that he had established his own artistic style by the time he participated in the Nahan-jeon project. The list of participants in the project (contained in the written prayer) includes Sameung and Jisu of the Seungil School and Cheonsin of the Eungwon-Ingyun School, but little is known about the part they played in the project. 완주 송광사 羅漢殿에 봉안된 삼세불, 십육나한, 오백나한, 제석천, 使者, 용녀, 인왕 등 500여 구의 존상들은 무염 등 30여 명의 조각승들에 의하여 제작되어 1656년 7월 3일에 점안된 불상들임이 석가상 조성발원문에 의하여 밝혀졌다. 수백 구의 불상들이 수십 명의 조각가에 의하여 제작되었기 때문에, 각 불상들은 조금씩의 양식적 차이를 드러내고 있는데, 이는 각 존상들이 여러 조각승들의 그룹에 의하여 각각 다른 양식으로 조각된 것으로 판단되는 근거가 된다. 본고에서는 조성발원문들에 기록된 조각승들의 작풍에 기초하여 각 불상들의 양식을 분석하여 삼세불상과 십육나한상의 일부 존상에 대하여 실제 조각한 것으로 판단되는 조각승을 비정하였다. 송광사 나한전 존상들 중 석가상과 좌협시보살상은 무염파 조각승들에 의하여 제작되었고, 우협시보살상과 제1존자상은 단응에 의하여 조성되었으며, 제3존자상은 법령파와 연관이 있을 것으로 보이는 성순에 의해 조성된 것으로 판단되었다. 또한 나한전 불사는 수조각승인 무염을 중심으로 한 무염파 조각승들에 의해 주도되었다기 보다는 無染, 丹應, 天信, 思印 등 여러 유파 조각승들의 참여에 의한 ‘조각승 유파의 합동 작업’ 성격이 강하게 나타난 불사로 판단되었다. 이처럼 여러 유파 출신의 조각승들이 함께 작업할 수 있었던 것은 碧巖覺性같은 영향력 있는 승려가 참여한 불사였기 때문으로 판단된다.

목포 달성사 명부전 존상의 조성과 중수: 향엄(香嚴), 진열(進悅)

송은석 ( Song Unsok ) 미술사와 시각문화학회 2016 미술사와 시각문화 Vol.18 No.-

1565년 나주 운흥사에서 조성되었고 지금은 목포 달성사 명부전에 봉안되어 있는 지장삼존상과 시왕상 등 제 존상들은 16세기 조각승 향엄(香嚴)을 비롯한 5명의 조각승들에 의하여 제작되었다. 조각승 향엄은 이 불상들 이외에도 1534년에 제작한 보살상을 남기고 있어서, 16세기 조각승 가운데 유일하게 2점 이상의 작품을 남긴 조각승이다. 16세기 말에 일어난 임진왜란으로 인해 현존하는 조선 전기의 목조불상이 매우 희귀한 상황에서 향엄이 조성한 두 건의 불상들은 16세기 조각사의 연구에 매우 중요한 자료가 된다. 또한 1534년과 1565년에 제작된 불상들에는 양식적 특징이 동일하게 나타나 있어서, 이 기간 동안 지속적으로 불상들을 제작하였을 것으로 추정케 하며, 향엄을 중심으로 활동한 조각승 유파가 존재하였을 가능성도 보여 주고 있다. 이 불상들은 1719년에 조각승 진열, 태원 등에 의해 중수되었는데, 이때 지장보살상을 비롯한 여러 존상들의 얼굴이 변형된 것으로 확인되었다. 중수 시에 원래의 얼굴이나 불신이 크게 바뀌는 사례는 흔치 않은 일인데, 이는 조각승 진열이 추구한 중수 방식 때문인 것으로 판단된다. 진열이 1722년에 참여하여 중수한 부산 범어사 목조비로자나불좌상도 달성사 불상들처럼 얼굴의 개변이 이루어진 점으로부터도 이러한 추정이 가능하다. 또한 1719년 중수 시에는 오도전륜대왕상과 사자상 등 일부 존상들이 진열에 의해 새로 조성되었을 것으로 추정되는데, 여러 사찰에 봉안되어 있는 진열 작 불상들과 양식적으로 공통점을 갖고 있기 때문이다. 즉, 목포 달성사 명부전의 여러 존상들은 1565년 제작된 후 크게 손상되지 않고 후대의 중수에 영향을 받지 않아 향엄의 작풍을 간직하고 있는 불상군, 1719년 중수 당시에 새로이 조성되어 진열의 작풍만을 보이는 불상군, 그리고 중수 시에 진열에 의해 크게 개변되어 향엄과 진열의 작풍이 함께 나타나는 불상군 등 3가지 양식의 불상들로 이루어져 있는 것이다. 조선시대에 제작된 목조 불상들은 습기나 해충에 의해 손상되기 쉬운 재질의 특성으로 인해 시간의 경과에 따라 개금, 개채 등을 비롯한 다양한 보수 작업이 필요하였다. 현존하는 모든 조선시대 불상들은 다소간의 차이는 있지만, 여러 차례의 중수와 보수를 거친 존상들이다. 목포 달성사 명부전 존상들은 16세기 중반에 제작된 이후 여러 차례의 보수를 거치면서 향엄과 진열의 작풍이 공존하는 독특한 구성을 갖추게 되었으며, 조성, 보수, 중수, 개채 등에 의해 변화된 모습이 그대로 간직된 대표적인 불상이 되었다. It was discovered, in a record associated with the construction and renovation of the Buddha images found in various images enshrined at Myeongbu-jeon Hall (Hall of the Underworld) of Dalseong-sa Temple in Mokpo, that the statues enshrined in the hall - including the Ks. itigarbha Bodhisattva Triad, Ten Underworld Kings, Messengers, vajrapani Guardians and Boy Attendants - were originally created in 1565 by a monk-sculptor named Hyang-eom and renovated in 1719 by another monk-sculptor named Jin-yeol. Considering the fact that most of the Korean wooden cultural heritage created before the 16th century were almost destroyed by wars and internal disturbances, particularly the Japanese invasion of the Korean Peninsula in 1592 (Imjinwaeran) and the Manchu Invasion in 1636 (Byeongjahoran), these statues made in 1565 provide valuable clues for the study on and restoration of the history of Korean sculpture for Joseon period (1392-1910). The statues are particularly highly regarded for keeping the original condition almost intact, although some of the original Judge, Demon King, and Boy Attendants failed to survive. The written prayers made at the time of their creation and restoration - with the first discovered at the repositories of five statues, and the second, at those of seven statues - provide even more valuable information on the production, management, and movement of the statues. Other discoveries, including the bokjang container, dharanı, and Buddhist scriptures, also provide a fine complement to the knowledge about the tradition of storing votive offerings inside the Buddhist statues maintained during the Joseon period. Hyangeom, who led the project for the creation of the Buddhist statues enshrined in the Myeongbu-jeon Hall of Dalseong-sa Temple, also left a work he carved in 1534; thus making him the only monk-sculptor of the 16th century to have produced more than one sculpture remaining today. These sculptures maintain the same style despite the thirty-year difference in time, suggesting that he continued to be engaged in sculpture for three decades from 1534 to 1565. While there have been plenty of researches conducted in the 17th-century Buddhist sculpture and sculptors of Joseon, which was terminated with the end of the Imjinwaeran, little is known about the art and artists before the war. That is why artist Hyangeom and his sculptural works are deemed to have played a crucial role in connecting the Buddhist sculpture of early Joseon with that of the period following it. Jin-yeol and Taewon, two of the sculptors who played a key role in the restoration of Hyangeom`s works done in 1719, are now generally regarded as master sculptors who represent the Korean Buddhist sculpture in the first half of the 18th century. Of the two, Jinyeol is famous for his tendency to use his own style for the works he was commissioned to restore or reproduce; this explains how the statues originally made by Hyangeom come to display the style established by Jinyeol. The statue of Ks. itigarbha Bodhisattva is a prominent example. It is also Jinyeol, as generally agreed, whose works replaced the damaged statues of the Tenth Judge and Messenger, providing a valuable clue with respect to the restoration project for Hyangeom`s statues. The modification method adopted by Jin-yeol continued to be used with others such as regilding or repainting carried out in the following period for Buddhist statues, including the Wooden Seated Vairocana Buddha of Beomeo-sa Temple in Busan restored in 1722.

미국 미술관, 박물관 소장 조선시대 불상 연구

송은석 ( Un Sok Song ) 미술사와 시각문화학회 2013 미술사와 시각문화 Vol.12 No.-

There are many Korean works of art in museums and private collections in the United States, and dozens of Buddhist sculptures are included in them. Most of them were purchased from art dealers like Yamanaka Sadajiro in the early 20th century, and some of them from the collections of US Armed Forces and civilian workers in the military after the end of the Korean War in the mid 20th century. According to my recent survey, many Korean Buddhist statues are housed in the American museums and dozens of Buddhist statues created during the Joseon period (1392-1910) are included in them. Buddhist statues in American collections are of great importance in studying and reconstructing the history of Korean sculpture, especially the history of sculpture in Joseon Korea, because some of them have their documents for the dates and sculptors of the works and some images can be considered to be of the works of sculptors active in the 17th-18th century by formal analysis. Thus, I have examined 9 pieces of statues made from the 15th to the 18th century in American collections such as the Arthur M. Sackler Museum of Art, the Cleveland Museum of Art, the Los Angeles County Museum of Art, the Mary & Jackson Burke Foundation, the Metropolitan Museum of Art, the Samuel P. Harn Museum of Art, the Smart Museum of Art, and the Walters Art Museum. The Buddha statues in the Cleveland Museum of Art and the Arthur M. Sackler Museum are typical works representing two different styles in the early Joseon period. The former reflects a strongly traditional Goryeo style modified by the Tibeto-Chinese style while the latter reflects a strong Tibeto- Chinese style modified by the traditional Goryeo style. According to the results of formal analysis, the standing Bodhisattva statue in the Smart Museum of Art is assumed to have been made by the monk-sculptor Yeongsaek in the early 17th century, the seated Buddha statue in the Mary and Jackson Burke Foundation is assumed to have been produced by the monk-sculptor Ingyun or his followers in the early 17th century, and the seated Buddha statue in the Samuel P. Harn Museum of Art is assumed to have been created in the late 17th century by the monk-sculptor Seungil or his followers. Moreover, the seated Buddha statue in the Los Angeles County Museum of Art had been formerly known to be one of Jeonghaeng`s pieces, but, as a result of analytic comparison to other works by him, turned out not to be. And the seated Buddha statue in the Walters Art Museum is assumed to be the main sacred image of Buddha from a wooden picture (Mokgak-taeng) and has great significance for being the only example of its kind in existence. Buddhist statues from the Three Kingdoms and Unified Silla periods currently in the United States have been introduced and discussed. But, Joseon dynasty Buddhist statues in the American collections are still in need of investigation. Research on Joseon dynasty Buddhist statues in Korea has not been properly introduced to North American academia and museums to the extent that some statues regarded as Chinese or Japanese turned out to be works of the Joseon period, and vice versa. This calls for continuous interest in and investigation of Joseon dynasty Buddhist statues in the future.

한국(韓國)의 문화(文化) : 17세기 말-18세기 초 조각승(彫刻僧) 수일(守一)의 조상(造像) 활동

송은석 ( Un Sok Song ) 한국사상문화학회 2013 韓國思想과 文化 Vol.70 No.-

조선 후기 불상과 조각승에 대한 연구는 아래와 같은 과정을 거쳐 이루어진다. 첫째, 발원문 등의 기록에 의해 조각가가 확인된 불상의 양식적 특징을 추출하며, 둘째, 기록이 없는 불상들은 조각가 기록이 있는 불상들과 비교하여 조각승을 추정하고, 셋째, 조각가의 작풍이 시간에 따른 변화하는 과정을 규명한다. 양식 분석을 통하여 불상을 언제 누가 만들었는지 알 수 있다. 또한 잘못된 기록에 의한 조각가와 제작 연대의 왜곡을 바로잡을 수도 있다. 불상의 조각가와 제작 시기를 판단하는 기초 연구에서 “양식”은 매우 중요한 분석 도구인 것이다. 이 글은 조선 후기의 주요 조각승들의 하나인 수일과 그의 작품 활동을 고찰한 연구이자, 불상에 수반한 문자 기록의 미술사 사료로서의 가치와 한계에 대한 연구이기도 하다. 조각승 수일은 이번 논문을 통해 학계에 처음 보고된 새로운 조각가이다. 그는 임진왜란 종전 이후 100여 년 동안 전국적으로 벌어진 사찰 재건기의 끄트머리인 17세기 말부터 18세기 초 사이에 경상도와 전라도 일대에서 불상을 만들고, 수리하고, 개금하는 작업을 하였다. 수일의 초반기 작품은 현재 1675년의 달성 소재사 명부전의 제 존상과 1676년의 청도 적천사 명부전의 제 존상이 알려져 있다. 그러나 그중 소재사의 지장상은 수일의 작품이 아닌 것으로 이번 논문을 통해 밝혀졌다. 수일의 작품이 확실한 소재사의 시왕상과 적천사의 지장상을 소재사 지장상과 비교 분석한 결과에 의한 것이었다. 수일은 1676년 적천사 명부전 존상들을 조성한 이후 1702년과 1703년에 전남 순천 대흥사와 경남 사천 심적암에서 각각 과거칠불·오십삼불상과 아미타삼존상을 제작하였는데, 그 사이 25년 동안 불상을 조성한 기록은 아직 발견되지 않았다. 순천 대흥사에 봉안되었던 불상들은 현재 서귀포, 보성, 남원 등지의 사찰에 흩어져 봉안되어 있으며, 대흥사에 봉안되었던 불상으로 추정되는 불상들도 서울, 전라남도, 전라북도 등지에 흩어져 봉안되고 있음이 양식 분석을 통해 새롭게 확인되었다. 수일은 1670년대에 불상을 새로 조성하는 작업을 주로 하다가, 1690년대 이후에는 불상 조성과 함께 개금, 중수 등을 병행하였다. 17세기 후반 사찰의 재건 및 중창 사업이 거의 완료된 결과, 새로운 불상을 조성하는 일은 줄어든 대신 오래된 불상을 수리하는 일이 크게 증가하였기 때문이었다. The Buddhist sculpture in the late Joseon dynasty are studied generally through a process like below: firstly, the stylistic features of Buddha statue which was known sculptor``s name by the record of balwonmun are extracted, secondly, the sculptor of the Buddha statue without record are estimated by making a comparison to the Buddha statue with record, and thirdly, the style of sculptures changing with time are explored. We can estimate who create the statue, and when, for analyzing style, and correct the sculptor and dating of the statue with document wrongly recorded too. In foundational research for estimating the sculptor and dating of the statues, style is a very useful analytical tool. This article is a study on monk sculptor Suil, one of the most important sculptors in the late Joseon dynasty, and his works, and on value and limitation of textual records as art-historical sources. A monk sculptor Suil is newly introduced in the academic community through this article. At the end of the era of rebuilding Buddhist temples and recreating Buddhist statues for about 100 years after the war between Joseon and Japan(1592-1598), Suil created and repaired Buddhist statues at the south part of Korean peninsula. Suil``s early works, except Buddhist statues dated 1675 in Myeongbu-jeon of Sojae-sa temple in Dalseong and Buddhist statues dated 1676 in Myeongbu-jeon of Jeokcheon-sa temple in Cheongdo, are unknown. Ksitigarbha image, a main statue in Myeongbu-jeon, in Sojae-sa is revealed that it is not Suil``s work by formal analysis in this paper. Any textual record about Suil was not known between 1676 and 1695. He repainted in gold on Buddha Triad in Borim-sa at Jangheung in 1695, and created Seven Buddhas and Fifty-three Buddhas in the past in Daeheung-sa at Suncheon in 1702, Amitabha Triad in Simjeok-am at Sacheon in 1703. Buddha images enshrined in Daeheung-sa in Suncheon are now dispersedly enshrined in temples at Seogwipo, Boseong, Namwon, and some Buddha images which were estimated at the belongings of Daeheung-sa temple are found in the temples at Seoul, Jeollanam-do, Jeollabuk-do, etc. As a result of practical completion of reconstructing the temples in the late 17th century, creating new Buddha images decreased steadily, repairing the old statues increased greatly. Suil mainly created new Buddha images in 1670s, however, after the 1690s, he created new Buddha images on the one hand, repaired old images on the other hand.

비정질 수정 캔틸레버의 식각 공정 최적화 및 Q-factor 연구

송은석(Eun-Seok Song),김용권(Yong-Kweon Kim),백창욱(Chang-Wook Baek) 대한전기학회 2011 전기학회논문지 Vol.60 No.2

In this paper, optimal deep reactive ion etching (DRIE) process conditions for fused quartz were experimentally determined by Taguchi method, and fused quartz-based micro cantilevers were fabricated. In addition, comparative study on Q-factors of fused quartz and silicon micro cantilevers was performed. Using a silicon layer as an etch mask for fused quartz DRIE process, different 9 flow rate conditions of C4₄F?, O₂ and He gases were tested and the optimum combination of these factors was estimated. Micro cantilevers based on fused quartz were fabricated from this optimal DRIE condition. Through conventional silicon DRIE process, single-crystalline silicon micro cantilevers whose dimensions were similar to those of quartz cantilevers were also fabricated. Mechanical Q-factors were calculated to compare intrinsic damping properties of those two materials. Resonant frequencies and Q-factors were measured for the cantilevers having fixed widths and thicknesses and different lengths. The Q-factors were in a range of 64,000 ?108,000 for fused quartz cantilevers and 31,000 ? 35,000 for silicon cantilevers. The experimental results supported that fused quartz had a good intrinsic damping property compared to that of single crystalline silicon.

연구논문 : 17세기 무염파(無染派)의 조상(造像) 활동

송은석 ( Un Sok Song ) 호남사학회(구-전남사학회) 2010 역사학연구 Vol.40 No.-

조선 후기 17세기는 임진왜란으로 파괴된 사찰과 불상을 대대적으로 재건하고 조성한 시기였다. 수 천 구의 불상을 새로 조성함에 따라 수많은 조각가들이 필요하였고, 이들 조각가들은 적게는 10여명 많게는 80여명에 이르는 집단을 이루어 활동하였다. 이들 조각가들은 모두 승려의 신분을 갖고 있어 彫刻僧이라 할 수 있으며, 이들 조각승들의 집단은 한 사람의 首長을 중심으로 일정한 조각 양식을 공유한 독립적인 유파를 이루고 있었다. 17세기에는 대략 7-8개의 대형 조각승 유파가 활동하였으며, 이들 유파는 또 다시 작은 유파들로 나뉘어져 있기도 하였다. 無染派는 무염과 해심을 중심으로 1630년대에서 1650년대까지 전라도 일대에서 가장 활발하게 활동한 조각승 유파이며, 조선 후기에 가장 많은 80여 명의 조각승을 보유하였던 유파이다. 무염파는 1633년 고창 선운사에서 처음으로 불상을 조성하는 데 참여한 것으로 보아, 늦어도 1620년대 말에는 독자적인 조각승 유파를 이룬 것으로 추정된다. 무염파의 활동 영역은 주로 전라북도를 근거로 하여 전라도 일대에서 활동하였던 것으로 보이지만, 멀리 강원도의 불사에 참여하기도 하였다. 무염이 수조각승으로 조성한 불상은 팽팽한 양감이 강조된 얼굴과 신체, 그리고 양각과 음각을 함께 사용하여 입체감을 잘 표현한 옷주름 등이 특징이다. 17세기 후반 무염파를 계승한 海心은 스승인 무염의 작풍을 이으면서도 좌우대칭의·옷주름과 두터운 하반신을 갖고 있는 안정감 높은 불상들을 조성하였다. The Buddhist temples and the statues in Korea were, for the most part, rebuilt and recreated from the 17th to the 18th century because the greater part of them were destroyed by the Japanese invaders in the period of the Japanese Invasion to Korea from 1592 to 1598. Thousands of the sculptors, who were monks, worked for creating the sculptures and they formed groups and schools. In general, each school was formed with limited numbers of sculptors and a specific region. The statues were made by each school`s own members. During the first half of the 17th century, lots of competent monk-sculptors became noticeable. The masters in each schools led all their members with the unique style of the sculptures. There were 7-8 major schools in the 17th century and the Muyeom school is in them. Muyeom school was led by Muyeom in the early 17th century and Haesim in the mid 17th century. They produced many works more actively than any other schools for the period of the 1630s to the 1650s in Jeolla province. Muyeom, the founder of the school, presented the cubic effect very well on the expression of clothes` lines and the voluminous effect on the expression of faces and bodies. Haesim, the worthy successor of the school, stressed the symmetrical effect on the draperies of the clothes and the stability of the statues.

金堤 金山寺 조각승 淸虛의 造像 활동

송은석(Song Un-sok) 한국미술사학회 2013 美術史學硏究 Vol.- No.279·280

의성(義城) 대곡사(大谷寺) 나한전 존상과 조각승 탁밀(卓密)

송은석 ( Song Un-sok ) 東亞大學校附設 石堂傳統文化硏究院 2016 石堂論叢 Vol.0 No.66

의성 대곡사 대웅전, 나한전(현), 대구 안일사 등 여러 사찰의 전각에 봉안되어 있는 존상들이 원래는 의성 대곡사 나한전(원)에 함께 봉안되어 있던 존상들임을 밝히는 것이 본 논문의 목적이다. 대구 안일사에 봉안되어 있는 목조석가불좌상, 의성 대곡사 대웅전에 봉안되어 있는 목조관음보살좌상과 목조대세지보살좌상, 그리고 신축된 대곡사나한전에 봉안되어 있는 소조16나한상, 소조제석천상, 소조판관상, 소조사자상 등은 의성 대곡사 나한전에 봉안되어 있다가, 20세기 중반경 나한전이 파괴되자 대곡사 내의 대웅전과 대구 안일사 등지에 흩어져 봉안되었던 것으로 확인되었다. 안일사 석가상의 복장으로부터 석가불상이라는 존상 이름, 의성 대곡사라는 봉안처, 그리고 탁밀이라는 조각승의 이름 등이 기록된 발원문들이 발견되면서 본 연구가 시작되었다. 이들 발원문의 진실성 여부를 가리는 일은 본 연구의 시작을 위한 첫 번째 과제였으며, 석가상에 대한 양식 분석에 의해 조각승 탁밀의 제작품이라는 발원문 기록이 사실로 판단되었다. 또한 탁밀이 조성한 영월 보덕사 아미타삼존상(1687), 울진 불영사 삼세불상(1704)과 얼굴, 의복 등의 세부를 비교하여 분석한 결과 1694년에 제작되었다는 발원문 기록도 양식 변화 과정에 상응하는 것으로 확인되었다. 대곡사 대웅전에 봉안되어 있는 두 협시보살상을 조성한 조각승과 제작 년대 그리고 존명을 검토하는 일은 두 번째 과제였다. 안일사 석가상과 대곡사 대웅전에 봉안되어 있는 두 보살상의 눈, 귀, 코 등 얼굴의 세부와 옷의 세부 표현을 비교 분석한 결과 두 보살상 역시 탁밀에 의한 제작품으로 판단되었다. 관음보살상과 대세지보살상이라는 현재의 명칭은 아무런 도상적 근거 없이 부여된 것이었으며, 원래는 나한전에 봉안되었던 미륵보살상과 제화갈라보살상일 가능성이 매우 높다고 판단되었다. 마지막으로 현 나한전에 봉안되어 있는 나한상, 제석상, 판관상, 사자상들은 얼굴의 세부 표현 방식에서 단응ㆍ탁밀파의 작품들과 동일한 것으로 확인되었으며, 그중에서도 탁밀에 의해 조성되었을 가능성이 가장 높다고 판단되었다. The written prayers marking the original gilding (1694) and re-gilding work (1955) carried out on the wooden statue of seated Sakya-muni Buddha enshrined in Anil-sa Temple in Daegu reveal that it was made in 1694 for enshrinement in Daegok-sa Temple in Uiseong. According to the prayers, the Sakya-muni statue was made along with various other statues, including Maitreya Bodhisattva, Dipamkara Bodhisattva and the sixteen Arhats, to be enshrined in the Hall of Arhats (Nahan-jeon Hall) of Daegok-sa Temple. Many of the original statues disappeared after the 1955 re-gilding work following the destruction of the hall, when the Sakya-muni statue was relocated to Anil-sa Temple where it is currently enshrined and the rest of the statues were moved to Daeung-jeon Hall at Daegok-sa Temple. The statues of the Arhats, Judges, Messengers, and Indra were later restored in the new Hall of Arhats, while the Maitreya and Dipamkara statues were renamed Avalokitesvara and Mahasthamaprapta and placed as acolytes on each side of the principal Buddha, Sakya-muni, enshrined in the central prayer hall of Daegok-sa Temple. However, no one knows the whereabouts of the statues of the Generals(Vajrapanis), which should have been enshrined in the original Hall of Arhats. This study aims to restore the set of sculptures of Buddhist deities originally enshrined in the Hall of Arhats at Daegok-sa Temple in Uiseong, which, as previously mentioned, were later displaced from the original shrine to other locations including Daeung-jeon Hall of the same temple and Anil-sa Temple. A study of the written prayers discovered in the hidden repository inside the kya-muni statue enshrined in Anil-sa Temple, as well as the analysis of the sculptural style of the statue, revealed that it was carved by a monk-sculptor named Takmil(탁밀, 卓密). A comparison of the Sakya-muni statue with other works by the same sculptor, such as the Amitabh Buddha Triad of Bodeok-sa Temple in Yeongwol (1687) and the Buddhas of the Three Generations (1704) in Buryeong-sa Temple in Uljin, also confirmed the veracity of the record in the written prayer stating that it was made in 1694. The two acolytes of the Sakya-muni Triad enshrined in Daeung-jeon Hall of Daegok-sa Temple were also closely reviewed to reveal when they were made and by whom. A comparison of the two bodhisattvas with the Sakya-muni statue in Anil-sa Temple revealed that the statues were made by the same sculptor, Takmil; that the bodhisattvas are the Maitreya and Dipamkara statues originally enshrined in the Hall of Arhats at Daegok-sa Temple; and that their new names were given to them arbitrarily after their transfer to the new location. Finally, it has been discovered that the statues of the Arhats, Judges, Messengers and Indra in the Hall of Arhats display the same style as other sculptural works by Daneung and Takmil, suggesting that they were made by the latter. Such a conclusion is backed up by a record on “the statues of Sixteen Arhats made of clay” contained in the written prayer marking the enshrinement of the Sakya-muni statue in Anil-sa Temple.