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영어

Songgwangsa Temple houses numerous monk portraits from the late Joseon and modern periods, including Portraits of Sixteen State Preceptors (1780) from the Guksajeon Hall (國師殿) and Portraits of Thirty-five Patriarchs (1911) from Pungam Yeonggak (楓巖影閣). It is also recorded that Songgwangsa and Bojoam Hermitage had monk portraits that have now disappeared. There was another set of Portraits of Sixteen State Preceptors in Bojoam, which was burnt down during the Jeongyu War Period (丁酉再亂, 1597-1598). Afterwards, a set of portraits of monks from the lineage of Buhyu Seonsu (浮休善修, 1543-1615) was produced and enshrined, which were also destroyed in 1908. The descendants produced the Portraits of Thirty-five Patriarchs to carry on the patriarchal faith of Bojoam and dedicated them to Pungam Yeonggak next to Guksajeon. Originally built in 1789, Pungam Yeounggak was the memorial of the monk lineage from Taego Bowu (太古普愚, 1301-1382) to Buhyu Seonsu and their descendants. However, as the Portraits of Thirty-five Patriarchs were newly enshrined in 1911, the Portraits of Thirty-three Patriarchs, which were previously enshrined here, were moved to the Daejangjeon Hall and its name subsequently changed. In addition, there is a record of Portraits of Three Buddhist Monks of Jigong, Naong, and Muhak being enshrined in the Haehaengdang Hall in the late 19th and early 20th centuries. According to other accounts, Naong and Muhak were originally included in the Eighteen Abbots, whose portraits were placed alongside Guksajeon’s Portraits of Sixteen State Preceptors. However, as the perception of the Seungbo (Sangha Jewel) centered on the Portraits of Sixteen State Preceptors grew stronger, it was separated and transformed into the Portraits of Three Buddhist Monks. As such, there were portraits of the same or different monk lineages at Songgwangsa and Bojoam, and these monk portraits were either maintained or newly created by the Buhyu lineage who oversaw Songgwangsa in the late Joseon Dynasty. The changes that the portraits have undergone - loss, displacement, and separation - have transformed the intentions of their creators. In the late Joseon period, the Buhyu lineage of Songgwangsa reworked the Portraits of Sixteen State Preceptors, which had been completed in the late Goryeo and early Joseon periods. In doing so, they eschewed the contemporary styles in favor of keeping the original form. The style of the Portraits of Sixteen State Preceptors influenced the seated form of the Portraits of Thirty-five Patriarchs, as well as the way they were mounted. Above all, the establishment of Portrait Pavilion, which houses portraits of monks from the Buhyu Lineage, next to Guksajeon, as well as housing portraits of monks from the Buhyu Lineage in Bojoam were the means of crystallizing the image of the heirs of history and the traditions from the late Goryeo Dynasty through the portraits. In addition, the symbolism of the chief monastery of Sangha Jewel was firmly formed through Portraits of Sixteen State Preceptors and Portraits of Thirty-five Patriarchs.

한국어

송광사에는 국사전 <16국사진영>(1780) 외에도 풍암영각에 <35조사진영>(1911)과 조선 후기와 근대에 조성된 다수의 진영들이 있다. 또한 기록뿐이지만 송광사와 보조암 에 지금은 사라진 진영들이 존재하였다. 국사전처럼 보조암에도 16국사진영이 있었으나 정유재란에 소실되었고 그 이후 이곳에 부휴파 승려 진영들이 봉안되었으나 이 또한 1908년에 소실되었다. 이에 후손들은 보조암의 조사신앙을 계승하기 위해 <35조사진 영>를 제작해 국사전 옆 풍암영각에 봉안하였다. 풍암영각은 원래 1789년에 태고보우에 서 부휴선수와 그 후손들의 진영을 봉안하기 위해 건립된 영자전이었으나 <35조사진영> 이 안치되면서 이곳에 있던 33조사진영은 대장전으로 이동하였으나 1951년에 소실되 었다. 송광사에는 19세기~20세기 초에 지공·나옹·무학의 삼화상진영이 행해당에 봉안 된 기록이 전한다. 고봉의 스승과 사형인 나옹과 무학은 송광사 18주지로 18세기까지 16국사진영과 함께 국사전에 모셔졌다. 그러나 19세기 16국사진영을 중심으로 한 승보 인식이 견고해지면서 분리되어 삼화상진영으로 변모하였다. 이처럼 송광사와 보조암에 는 같거나 혹은 계통이 다른 진영들이 존재하였고 이 진영들은 조선 후기 송광사를 운영 했던 부휴파 승려문중에 의해 유지되거나 새로 조성되었으며, 때로 소실과 이동, 분리 등의 변화를 거치면서 제작 당시와 다른 형태로 변형되었다. 조선 후기에 송광사의 부휴파 승려문중은 고려 후기부터 조선 전기에 완성된 <16국사진영>을 중수하는 있어 시대 적 양식을 배제하고 원형을 유지하는 방식을 고수하였다. <16국사진영>만의 조형성은 이후 <35조사진영>의 형식과 장황 방식에 영향을 미쳤다. 조선 후기에 송광사의 부휴파 승려들은 국사전 옆에 영각을 세우고 보조암에 자기 문중 출신 승려 진영을 모심으로써 고려 후기부터 지속되어 온 역사와 전통의 계승자란 이미지를 구체화하였으며 집단적이 고 통일된 형식의 시각 매체인 <16국사진영>과 <35조사진영>을 통해 승보사찰의 상징성을 견고하게 하였다.