17세기 無量寺의 중건 불사와 불교공예품의 가치 = The reconstruction of Muryangsa Temple in the 17th century and the value of Buddhist crafts

다국어 초록 (Multilingual Abstract)

The reconstruction of Muryangsa temple, led by Master Jinmuk in 1623, was continued by Master Takgyu and concluded with the creation of Three Palace plaques of the Muryangsa temple in 1654.
The Buddhist bell of Muryangsa temple that was made in 1636 features the style of the monk craftsman Jukchang. This style is evident in the two-tiered Sanskrit band on the upper part of the bell, the standing Bodhisattva, the Buddhist plaque, and the lotus flower designs that change direction along the lower band. However, the Bodhisattva Triad and the blooming lotus decoration on top of the sound tube are unique to Jeongu who was monk craftsman. Combining the styles of Jukchang and Jeongu, the Muryangsa temple bell is believed to have served as a stylistic model for monk craftsmenʼs bells of the late Joseon period.
Three Palace plaques of Muryangsa temple that was made in 1654 shows the partial-joint construction style that is the trend of 17th century Buddhist plaques, and it seems that it was made by sculptor monks so it seems that it was able to create a high-quality three palace plaques. In addition, the cloud pattern in the shape of a ruyi head used as the pattern of the pedestal of Three Palace plaques of Muryangsa is a pattern that is only used in the Three Palace plaques of Muryangsa, so it can be said to be a unique pattern. Furthermore, the inscriptions on Three Palace plaques indicate a shift from a dynasty to an empire, from wishing for the longevity of the ruler, queen, and prince to wishing for the longevity of the emperor, empress, and crown prince.
The newly created Buddhist artifacts from the 17th-century reconstruction of Muryangsa Temple are significant because they exhibit new stylistic elements.