봉화 청량사 건칠약사여래좌상의 특징과 제작시기 검토

다국어 초록 (Multilingual Abstract)

The dry lacquer seated Medicine Buddha (Bhaisajyaguru) statue at Cheongnyangsa Temple in Bonghwa is relatively large, measuring 90cm in height and 72.5cm in width from knee to knee. It was recently designated a “treasure” by the Korean government after being identified as the country"s oldest dry lacquer Buddha statue.
The dry lacquer technique uses multiple layers of hemp cloth soaked in lacquer. In Korea, it is known as chilpo (柒布; “lacquer hemp”). Some 20 dry lacquer Buddha statues survive in Korea today, dating from the Goryeo to the Joseon period. The dry lacquer seated Medicine Buddha at Cheongnyangsa was made using a technique that shows several differences to that commonly employed in the late Goryeo and early Joseon periods: Its front and rear panel were sewn together using stitched thread, onto which layers of hemp cloth and black adhesive were applied. A similar two-plate method was also used to make the statue of Master Huirang at Haeinsa Temple in Hapcheon, which dates from around the mid-10th century in the Goryeo period, but this latter work differs from the Cheongnyangsa statue in that only its front panel is made using the dry lacquer technique, while its rear panel is made of wood.
The dry lacquer Medicine Buddha at Cheongnyangsa is a faithful reproduction of the main Buddha at Seokguram Grotto in terms of iconography, form and style. Seen in stylistic terms alone, then, it can be considered to date from the Unified Silla period. This notion is reinforced by the results of radiocarbon dating performed on the hemp cloth and base of the statue, which indicated a period of 770~870AD within confidence margins. The dry lacquer seated Medicine Buddha at Cheongnyangsa therefore dates from the Unified Silla period and was produced no later than the ninth century, making it Korea"s oldest dry lacquer Buddha statue.
The Medicine Buddha at Cheongnyangsa is found at Bonghwa, which was part of Gochang County in the Andong Protectorate, but reflects the “central style” found primarily in and around the Silla capital, Gyeongju. This is thought to result from the spread of the central style to the provinces as the Seobungmyeon region of Silla acquired greater importance due to the royal court"s provincial reinforcement policies from the late 8th century, and the appearance and northward movement of hojok (local gentry). It is also important to note that Andong at this time was a major transport hub, lying on the Nakdong River, a water route connected to Daegu and Gyeongju, and on the overland route to Gangwon Province via the Taebaek mountain range. Moreover, the geographic characteristics of Andong, famous for its Buddhist faith and its ramie and hemp cloth, are thought to have allowed the early production of dry lacquer Buddha statues.
The seated Medicine Buddha at Cheongnyangsa is the first dry lacquer Buddha statue to have been produced in Korea. As such, it is an important work that changed the course of Buddhist sculptural history. The statue also shows a prime example of a major achievement resulting from a combination of scientific investigation and stylistic observation in the process of officially designating items of cultural heritage.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 청량사 건칠약사여래좌상의 현상 및 특징
• Ⅲ. 복장물과 중수시기
• Ⅳ. 제작기법
• Ⅴ. 제작시기 검토와 조성 배경
• Ⅵ. 맺음말
• 참고문헌
• 〈Abstract〉

참고문헌 (Reference)

• 1 임석규, "한국의 사찰문화재" 대한불교 조계종 문화유산발굴조사단 2007
• 2 김리나, "한국불교미술사" 미진사 2011
• 3 신숙, "통일신라 평탈공예 연구" 한국미술사학회 (242・243) : 29-61, 2004
• 4 한준수, "신라 中ㆍ下代 鎭·道·府의 설치와 체제 정비" 한국학연구소 31 : 349-387, 2009
• 5 정은우, "송대 불교조각의 고려 유입과 선택" 미술사연구회 (25) : 39-65, 2011
• 6 김광희, "문물" 재단법인 한국문물연구원 2003
• 7 정은우, "고려후기 불교조각 연구" 문예출판사 2007
• 8 불교문화재연구소, "건칠불 : 한국의 불상, x-ray 조사보고서Ⅰ" 문화재청·(재)불교문화재연구소 2008
• 9 이용희, "高麗時代 以前 제작된 出土 古代漆器의 漆 技法 硏究" 한국문화사학회 (33) : 5-20, 2010
• 10 索予明, "蒹葭堂本髤飾録解説" 臺灣商務印書館 1974
• 11 임남수, "淸涼寺 傳藥師如來坐像考" 민족문화연구소 (43) : 669-694, 2009
• 12 辻本干也, "心木の構造と変遷について" 財團法人美術院 (創刊) : 1969
• 13 辻本干也, "奈 良 時 代の乾漆技法-造像技法考(3)" 佛敎美術學會 毎日新聞社 78 :
• 14 이병호, "夫餘 定林寺址 出土 塑造像의 製作技法과 奉安場所" 국립중앙박물관 (72-73) : 20-90, 2005
• 15 本間紀男, "天平彫刻の技法-古典塑像と乾漆像について-" 雄山閣出版社 1998
• 16 沈福文, "中國漆藝美術史" 人民美術出版社 1992
• 17 임남수, "X선투과촬영장치를 이용한 목조불상의 제작기법 연구" 한국미술사학회 (253) : 73-94, 2007
• 18 조이옥, "8~9世紀 新羅의 北方經營과 築城事業" 신라문화연구소 34 (34): 143-160, 2009