龍門寺 木造阿彌陀如來坐像의 특징과 願文 분석

다국어 초록 (Multilingual Abstract)

A wooden figure of a seated Amitabha Buddha in the Hall of the Universal Illuminator (Bogwangmyeongjeon 寶光明殿), of Yongmunsa temple in Yecheon, North Gyeongsang Province is 89.6cm tall, and is dated to 1515 according to the votive inscription. The figure originally formed a part of a triad, but today only the Amitabha Buddha remains. It is characterized by the large and long eyes and also by the convex modeling of its voluminous face. The drapery folds over the entire body, giving it a soft and natural appearance, and the protruding legs and feet add to the voluminous and vivid form in full. These characteristic features contrast with the plain and smooth body and simplified rendition of the garment of the Buddhist images in the latter half of the sixteenth century.
The votive inscription found inside of the image records the production year, hundreds of donors, as well as the names of the court painters (hwawon 畵員), carpenters (moksu 木手) and iron artisans (cheoljang 鐵匠). From the names and official titles of the donors, such as caretaker (chambong 參奉), noksa (錄事), yuhak (幼學), one can verify that the temple was constructed both by influential figures and the ordinary populace of the region, and it is further worth noting that the names of artisans were indicated in the votive as below:
Top court painter Yi Yeong-mun, Court painter Won Choeng,
carpenter Sa Un, iron artisan Jeong Yeong-san
上畵員李永文」畵員淸」木手思云」鐵匠鄭迎山
The title “hwawon”is a term that refers to artisans who belonged to the Royal Bureau of Painting (Dohwaseo 圖畵署), and it was also in the votive inscription of the Buddha image at Gyeonseongam (見性庵) dated 1456 and also in the wooden seated Buddha figure of Heukseoksa temple (黑石寺) that the term first appeared in Buddhist images. The two Buddhist images were both made by order of the royal court. The term “hwawon,”which was first used in the fifteenth century, began to be widely used for the Buddhist images offered by the local and common people in the sixteenth century, and after the seventeenth century, it became a synonym for artisans, regardless of the art genres such as painting and sculpture.
It is another characteristic of the sixteenth century that the duties of artisans such as hwawon,moksu , and cheoljang were subdivided. In the votive inscription of the seated wooden Buddha in Heukseoksa temple dated 1458, the term “hwawon”was first used along with the other terms of subdivided artisans in accordance with their duties: namely, millstone maker (majojang 磨造匠), gold leaf maker (geumbakjang 金箔匠) and gold leaf maker (bugeumjang 付金匠). I believe that this is related to the compilation of National Administration Code (Gyeonggukdaejeon 經國大典). Furthermore, this is also associated with breaking up the government system of handicraft manufacturing and the unified system of referring to hwawon.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 목조아미타여래좌상의 현상
• Ⅲ. 발원문 내용
• Ⅳ. 목조아미타여래좌상과 16세기 불상
• Ⅴ. 맺음말
• 참고문헌
• 〈Abstract〉