1676년 <상주 북장사 극락보전 목조아미타여래삼존좌상>과 조각승 지현 = The 1676 Wooden Seated Amitabha Buddha Triad of Pukchangsa Temple, Sangju and the Monk Sculptor Chihyŏn

국문 초록 (Abstract)

이 글은 경상북도 상주시 북장사(北長寺)의 극락보전에는 봉안되어 있는 목조아미타여래삼존좌상에 대한 것이다. 중앙 본존상의 앉은키만 189.5cm로 조선 후기(1609-1900) 불상 가운데 크기가 큰 편이며, 조각 역시 우수하다. 그러나 아쉽게도 3구 모두 조성기를 잃어 <북장사 삼존상>을 누가 조각했는지 정확하게 알 수 없다. 다만 다행스러운 점은 1706년에 작성된 『북장사사적기』에 실린 「전우영건기 (殿宇營建記)」에 이 삼존상에 대한 기록이 남아있어, 소영당 신경(昭影堂 神鏡, ?-1706)이 증명(證明)의 소임을 맡아 1676년에 조성했음을 알 수 있다는 것이다. 위 기록을 통해 <북장사 삼존상>의 제작 시기와 증명은 알 수 있게 되었지만, 조각 승이 누구인지는 여전히 알 수 없었다.
지금까지 <북장사 삼존상>은 17세기 중엽을 대표하는 조각승 희장(熙藏, 활동 1639-1666)의 작품이라고 추정해 왔다. 그러나 <북장사 삼존상>의 제작 시기인 1676년까지 희장이 활동했을지의 문제, 1678년 희장의 제자인이 제작한 <남해 용문사 지장시왕상>과 형식 및 양식이 거의 같아 희장이 아닌 그의 제자 지현이 제작했을 것으로 추정했다. 같은 북장사의 명부전에도 1689년 지현이 제작한 지장 시왕상이 남아있어 <북장사 삼존상>을 지현이 제작했을 가능성을 높여 주었다. 한 사찰 안에서 전각을 달리하여 같은 수화승이 전담해 불상을 조성하는 일이 적잖기 때문이다. <북장사 삼존상>은 조선 후기 불상 가운데 크기가 큰 편이며, 당당한 신체와 독특한 대의 주름이 특징인 희장파 작품으로 조선 후기 사세가 컸던 북장사의 주불전에 봉안된 상주를 대표하는 작품 가운데 하나이다.

다국어 초록 (Multilingual Abstract)

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.