대구 용연사 석가여래부도 연구 = (A) Study on the Stupa of Sakyamuni Buddha at yongyeinsa Temple in Daegu

다국어 초록 (Multilingual Abstract)

This study is on ‘the Stupa of Sakyamuni Buddha(釋迦如來浮圖)’ of‘Yongyeonsa Temple(龍淵寺)’, ‘Daegu(大邱)’, which has been designated as aTreasure under the name of the “Ordination Platform(戒壇) of Yongyeonsa
Temple, Dalseong”, focused on its construction group, the structures of its‘stylobate(基壇部)’ and ‘body(塔身部)’, and the production and iconographic origin of ‘the divine generals(神將像)’. The study aimed to present a new
perspective on the value of the Stupa of Sakyamuni Buddha.So far, the results of previous research on the Stupa of YongyeonsaTemple have only partially explained this Stupa and have not fully ascertained its significance in terms of art history and Buddhist history.Therefore, the link with the ‘Seosan clan families(西山門中)’ is need to be examined to find the reason for building this Stupa of Sakyamuni Buddha,and its connection with various other Buddhist cultural heritages is also studied in an effort to deepen understanding of the circumstances of its structure and construction.Founded by the Buddhist priest Boyang in ‘the Later Three Kingdomsperiod (後三國時代)’, Yongyeonsa Temple was rebuilt by the Buddhist
master ‘Hae-un Cheon-il(海雲天日)’ in the early Joseon period, but it was
completely destroyed by fire during the Japanese Invasion of Korea in 1592.
In the early 17th century, some years after the devastating war, the
reconstruction of the temple was resumed, at which time the Stupa of
Sakyamuni Buddha was also built. Shakyamuni’s sarira of the Stupa was
originally housed in the ordination platform of ‘Tongdosa Temple(通度寺)’,
but it was taken by Japanese troops during the aforementioned Japanese
Invasion of Korea. It was recovered by the monk general ‘Samyeong(四溟)
[dharma name: Yujeong(惟政); pen-name: Song-un(松雲)]’, after which his
disciples moved it to Yongyeonsa Temple and built the Stupa.
Although a group of stupas is located near the Stupa of Sakyamuni
Buddha, this research focused on the people related with the earliest among
them. They were monks from the Seosan clan, one of whom, ‘Uwun Jinhui
(友雲眞熙)’, is believed to have been deeply involved with the construction of
the Stupa of Sakyamuni Buddha, because his name is inscribed in the
Dongseongsangeungnyu(同聲相應流) of the Seokgayeoraebi (釋迦如來碑,
Record of the construction of the Stupa of Sakyamuni Buddha, 1676).
Meanwhile, although the Monk ‘Hwanjeok Uicheon(幻寂義天)’ was not
directly involved with the construction, his disciple ‘Soyeong Singyeong(昭影神鏡)’ is believed to have participated in it, because it is understood that Soyeong Singyeong is the same person as ‘Singyeong(信敬)’, whose name is inscribed in the main temple’s Seokgayeoraebi. At present, the Stupa of Sakyamuni Buddha is regarded as an ordination platform, unlike the original title of its construction, because, like the
ordination platform of Tongdosa Temple, it consists of a square framed stylobate on top of which is a ‘stone bell type(石鐘形)’ of body inside which the Sakyamuni’s sarira is enshrined. However, there is no mention of the
title ordination platform referring to this stupa in any records produced from the 17th century to the Japanese colonial era. In addition, given that after his Buddhist initiation ceremony at Fayuan Temple in China, the Monk
‘Manha Seunglim(萬下勝林)’ of Yongyeonsa Temple returned to Korea in the
19th century, which was later than the construction of the Stupa, it raises
the question of whether the Buddhist initiation ceremony was properly performed at that time. Assuming that the ceremony was held at Yongyeonsa Temple, as the Buddhist initiation ceremony of Tongdosa
Temple was held inside ‘Daeungjeon Hall(大雄殿)’, which served as a ‘Sarira
Hall(舍利閣)’ during the late Joseon period, the ceremony at Yongyeonsa
Temple could have been carried out inside a hall near the Stupa of Sakyamuni Buddha, and the similar circumstances of these two temples might have been the reason why the Stupa’s title was perceived as an
ordination platform.While the lower stylobate of the Stupa consists of single-layer stonework
placed on the foundation stone, its upper stylobate features a “weakened”
dual-framed style in which the lower platform, the slab stone, and the top
flat stones are fitted together. This stylobate structure differs from that of
the ordination platform of Tongdosa Temple, whose upper and lower
stylobates display the framed style. The body of the Stupa has the shape of
Soyeong Singyeong is the same person as ‘Singyeong(信敬)’, whose name is
inscribed in the main temple’s Seokgayeoraebi.
At present, the Stupa of Sakyamuni Buddha is regarded as an ordination
platform, unlike the original title of its construction, because, like the
ordination platform of Tongdosa Temple, it consists of a square framed
stylobate on top of which is a ‘stone bell type(石鐘形)’ of body inside which
the Sakyamuni’s sarira is enshrined. However, there is no mention of the
title ordination platform referring to this stupa in any records produced from
the 17th century to the Japanese colonial era. In addition, given that after
his Buddhist initiation ceremony at Fayuan Temple in China, the Monk
‘Manha Seunglim(萬下勝林)’ of Yongyeonsa Temple returned to Korea in the
19th century, which was later than the construction of the Stupa, it raises
the question of whether the Buddhist initiation ceremony was properly
performed at that time. Assuming that the ceremony was held at
Yongyeonsa Temple, as the Buddhist initiation ceremony of Tongdosa
Temple was held inside ‘Daeungjeon Hall(大雄殿)’, which served as a ‘Sarira
Hall(舍利閣)’ during the late Joseon period, the ceremony at Yongyeonsa
Temple could have been carried out inside a hall near the Stupa of
Sakyamuni Buddha, and the similar circumstances of these two temples
might have been the reason why the Stupa’s title was perceived as an
ordination platform.While the lower stylobate of the Stupa consists of single-layer stonework
placed on the foundation stone, its upper stylobate features a “weakened”
dual-framed style in which the lower platform, the slab stone, and the top
flat stones are fitted together. This stylobate structure differs from that of
the ordination platform of Tongdosa Temple, whose upper and lower
stylobates display the framed style. The body of the Stupa has the shape of a stone bell, which is understood to have followed the style of the Stupa of
Monk Seosan of Boyeonsa Temple in Hyangsan (1604, built by families of
the Seosan clan) and the Stupa of Monk Yujeong of Hongje-am Hermitage
in Hapcheon (1610), although it is known to have originated from the Stupa
for State Preceptor Wonjeung of Sanasa Temple in Yangpyeong (1383). The
lotus leaf design and the lotus flower ornament on the finial of the stupa’s
body are different to the finial with a nine-dragon ornament stone of the
ordination platforms at Tongdosa Temple, Geumsansa Temple, and the
Bulilsa Temple Site (in Kaesong), which were built before the late Joseon
period.
The divine generals engraved on the stylobate of the stupa include the
‘Four Heavenly Kings(四天王)’, which are stone sculptures in the round, and
the ‘Eight Deva Kings(八金剛)’, which are carved in relief on the slab stone.
The expression of the Four Heavenly Kings’ martial arts postures, clear
facial lines, vambraces worn over ordinary clothes, belt accessories, and
helmets is similar to that of the Four Heavenly Kings from the Wooden
Amitabha Buddha’s Sermon of ‘Daeseungsa Temple(大乘寺)’, Mungyeong
(1675), and the Deva Kings from ‘Yongmunsa Temple(龍門寺)’ in Yecheon
(1684), ‘Gwangheungsa Temple(廣興寺)’ in Andong (1692), and ‘Gimryongsa
Temple(金龍寺)’ in Mungyeong (1714), all of which were carved by the
monk-sculptors ‘Daneung(端應)’ and ‘Takmil(卓密)’, who worked together
with Soyeong Singyeong.
As the eight divine generals embossed on the stone pagoda built during
the Unified Silla and Goryeo Dynasty, are mostly the ‘Eight Legions(八部
衆)’, those of the Stupa of Sakyamuni Buddha were also regarded as the
Eight Legions. However, no iconographic elements were found in the
expressions of their features and clothes, so it is difficult to ascertain
whether they are actually the Eight Legions. Nonetheless, the divinegenerals carved on the slab stone of the upper stylobate of the stupa at the
Hoeamsa Temple site, Yangju display a similar iconography to the Eight
Deva Kings depicted in the ‘Diamond Sutra(金剛經)’ published by
Gwangheungsa Temple, Andong, particularly in terms of the techniques used
to express their martial arts postures and the way they are holding their
swords, so it is assumed that this iconography must have been made into
embossed images. Meanwhile, in the Chapter, Bulsariyiun (佛舍利移運,
Transfer of the Buddhist Sarira) in Beomeumsanbojip (梵音刪補集, Collection
of Buddhist Ceremonies) published by ‘Jungheungsa Temple(重興寺)’, Yangju
in 1721, which was right after the construction of the Stupa of Sakyamuni
Buddha, there is a phrase in which a request for protection was made to the
Eight Deva Kings and the Four Heavenly Kings during the transfer
ceremony of the Buddha’s sarira, providing the scriptural grounds for the
construction of the statues of the divine generals at the Stupa of Sakyamuni
Buddha.

국문 초록 (Abstract)

본 논문은 ‘달성 용연사 금강계단’이라는 명칭으로 보물 지정된 대 구(大邱) 용연사(龍淵寺) 석가여래부도(釋迦如來浮圖)에 관한 연구로 조성 집단, 기단부와 탑신부의 구조, 신장상의 조형과 도상적 연원에 대해 살펴보았다. 이를 통하여 석가여래부도가 지닌 가치에 관한 새 로운시각을 제시하였다.
현재까지 용연사 석가여래부도와 관련된 기존 연구 성과들은 이 탑 에 관해 부분적으로만 설명하였을 뿐, 미술사 및 불교사적인 의의를 충분히 규명하지 못했다. 이에 본 논문에서는 석가여래부도의 조성 계기를 서산문중(西山門中)과의 연관성 속에서 살펴보았고, 부도의 구 조와 조형의 연원을 파악하기 위해 건축물, 승탑, 조각, 불화 등 여러 불교문화재와의비교고찰을시도하였다.대구 용연사는 후삼국시대 보양국사(寶壤國師)에 의해 창건되고 조 선 전기 해운천일(海雲天日)에 의해 중창되며 사세가 유지되다가 임 진왜란 때 왜군의 침략을 받아 전소되었다. 그리고 전쟁이 끝난 후 17세기에 용연사 재건이 지속적으로 이루어지는 과정 중에 석가여래부도가 조성되었다. 석가여래부도 진신사리의 원봉안처는 통도사 계 단이었으나, 임진왜란때침략한 왜군이 약탈한것을사명대사(四溟大 師) 송운유정(松雲惟政)이 되찾아왔으며, 그의 제자들이 용연사로 이 안(移安)하고 부도를건립한것이다.석가여래부도의 인근에는 승탑군(僧塔群)이 있는데 그중 가장 이른 시기에 세워진 승탑의 인물들을 주목하였다. 이들은 서산문중의 승려 들로 특히 우운진희(友雲眞熙)는 석가여래부도의 조성에 깊게 관여한 것으로 추정된다. 석가여래부도 건립 내력이 기록된 『석가여래비(釋 迦如來碑)』(1676) 동성상응류(同聲相應流)에 이름이 새겨져 있기 때 문이다. 한편 환적의천(幻寂義天)은 석가여래부도 조성과 직접 관련되 어 있지 않으나, 그의 제자 소영신경(昭影神鏡)이 참여한 것으로 추정 된다. 『석가여래비』 본사(本寺)에 새겨져 있는 신경(信敬)과 동일인 으로판단되기때문이다.
석가여래부도는 건립 당시의 명칭과 달리 현재 계단(戒壇)으로 여 겨지고 있다. 이는 아마도 통도사 계단처럼 방형(方形)의 가구식(架構 式) 기단(基壇) 위에 석종형 탑신이 올려진 구조적 유사성과 그곳에 안치된 진신사리의 내력이 일치하는 데서 기인하는 것으로 보인다. 그러나 석가여래부도가 조성되었던 17세기부터 일제강점기까지의 기 록 어디에도 이 탑이 ‘계단’이라는 명칭으로 표기된 예를 찾아볼 수 없다. 게다가 석가여래부도가 조성된 이후인 19세기에 용연사 승려 만하승림(萬下勝林)이 중국 북경(北京) 법원사(法源寺)에서 수계(授戒) 를 받고 귀국하였다는 점을 헤아려 볼 때이 당시에 수계의식이 제대 로 수행되었는지 의문을 가지게 한다. 가령 용연사에서 수계의식이 진행되었다 하더라도, 조선 후기 통도사의 수계의식이 사리각(舍利閣) 역할을 하는 대웅전 내부에서 진행되었던 것처럼 용연사에서도 석가여래부도 인근의 사리각 안에서 진행되었을 것이며, 두 사찰의 비슷통일신라와 고려시대 석탑에 부조된 여덟 구의 신장상은 대체로 팔 부중(八部衆)이기 때문에 석가여래부도 부조상 역시 지금까지 팔부중 으로 인식되어왔다. 하지만 지물이나 복식 표현에서 도상적 근거를 찾을 수 없기 때문에 팔부중으로 보기 어렵다는 견해를 본 논문에서 제시하였다. 양주 회암사지 사리탑(16세기)의 상층 기단의 면석에 권 법자세를 취하거나 검을 쥔 신장상들이 1570년에 안동 광흥사에서 간 행된 『금강경(金剛經)』의 팔금강(八金剛) 도상과 매우 유사하여, 석 가여래부도의 기단 면석에 새겨진 도상들이 팔금강일 가능성에 힘을 실어 준다. 석가여래부도가 조성된 직후인 1721년에 양주 중흥사에서 간행된 『범음산보집(梵音散補集)』「불사리이운(佛舍利移運)」에는 붓다의 사리를 옮기는 의식 중에서 팔금강과 사천왕에게 옹호를 요청 하는 내용이 석가여래부도 신장상 조형의 경전적 근거를 제공하고 있 다.

목차 (Table of Contents)

• Ⅰ. 머리말1
• Ⅱ. 용연사 재건과 석가여래부도의 조성 5
• 1.용연사재건과서산문중 8
• 2.통도사진신사리의이안과석가여래부도의 조성 16
• 3.석가여래부도의명칭과 기능 25
• Ⅲ. 용연사 석가여래부도의 구성과 신장상의 조형 31
• 1.석가여래부도의구성 33
• (1)기단부 33
• (2)탑신부 35
• 2.석가여래부도의신장상 42
• (1)사천왕상 42
• (2)팔금강상 57
• Ⅳ. 용연사 석가여래부도의 미술사적 의의 79
• Ⅴ. 맺음말 83
• 참고문헌 86
• 표 목록 94