흑석사 목조아미타여래좌상의 복장유물 연구

Abstract

This thesis is a study on the Chest-inside artifacts of the Seated Wooden Amitabha Buddha Statue at Heukseok-sa temple, and it aims to examine the significance of Bokjangpum (items inside the chest of the Buddha statue) in the Buddhist art history. Accordingly, Chapter 2 examined the development and meaning of Buddhism chest-inside-enshrining in Korea, Chapter 3 investigated the background of the creation of the Seated Wooden Amitabha Buddha Statue at Heukseok-sa temple through ‘Bogwonmun (普勸文)’ and ‘Bokjanggi (腹藏記; record of items inside the chest of the Buddha statue)’, Chapter 4 identified the types and characteristics of Chest-inside artifacts, and Chapter 5 examined the significance of Chest-inside artifacts in the Buddhist art history. As a result, first, although enshrining-chest-inside-ritual started in India and spread to Korea via China, in India and in China, it has long since ceased to exist, and it was confirmed that only Korea has preserved, inherited, and developed its own tradition for over a thousand years, and continues to this day. Second, among about 85 Chest-inside artifacts of the Seated Wooden Amitabha Buddha Statue at Heukseok-sa temple, by analyzing ‘Bogwonmun’ and ‘Chest-inside Record’, this study looked at the phases of the times when the Buddha statue was created, which let us know that under the protection of the royal family, including Uibingung Kwon, Myeongbingung Kim, Prince Hyo-ryeong, Princess Jeong-ui, and even his consort Yeonchangwi, all of whom had deep Buddhism faith due to various unfortunate events within the royal family, in 1457, Gwonseonmun (勸善文; good deed recommending statement) was raised and the Buddha statue was completed in 1458, the following year. Third, it was found through Chest-inside artifacts that the ceremony was performed according to the contents of the “Josanggyeong” scriptures, and that the newly created Buddha statue was venerated and made a true object of worship while implementing it according to the contents. It was possible to prove that the rules were thoroughly followed and practiced by cutting shapes such as squares, triangles, circles, and half moons according to the colors of blue, white, red, black, and yellow according to the East-West, South, North and Central orientations, for arra and arra container, Anlib of Obobyeong, such as Ohyang-Oyak -Ohwang-Ogok-Chilbo, etc. as well as old document records such as “Myobeop -yeonhwagyeong” and “Bumoeunjunggyeong”. In addition, various woven patterns such as lotus flower pattern, bosang flower pattern, arabesque pattern, cloud pattern, chilbo pattern, and Neunghwa pattern were steadily decorated from the Goryeo Dynasty to the first half of the Joseon Dynasty, and although there was a little variation in the types, until the latter half of the Joseon Dynasty, it was possible to find out the characteristics of the traditional pattern theme continuing.