가사(袈裟)의 수용과 전개에 대한 연구

Abstract

This study is a thesis on the acceptance and development of Kaṣāya (袈裟), monk’s costumes. It can be said that the tradition of Kaṣāya in Korea began with the transmission of Buddhism, and after the 'Three Kingdoms' era, the Kaṣāya of Goryeo era and Joseon era can be found in Buddhist art works such as Buddhist paintings, sculptures, and other relics. During the Goryeo era, when Buddhism was most prosperous, it can be seen especially through Buddhist paintings painted on various themes, and the expression of the monk's robe (法衣) of the Buddha statue‐Bodhisattva statue shown in Goryeo Buddhist paintings has a meaning as a very important data for grasping the veins of Korean traditional Kaṣāya. Accordingly, before examining Kaṣāya in Korea, in Chapter Ⅱ, the origin of Kaṣāya in Buddhist Buildings (佛傳) and Vinaya Piṭaka, and the process of development of Bunsoui costume (糞掃衣) and Haljeolui costume (割截衣) were examined. In Chapter III, this study investigated the form of Kaṣāya expressed in Buddhist art in India and China. In Chapter IV, the composition and form of Buddha statue Kaṣāya ‐ Bodhisattva statue Kaṣāya expressed in Buddhist paintings during the Three Kingdoms' era and Goryeo period in Korea were examined, and through this, the meaning of the traditional Kaṣāya in Korea was examined. As a result, first, Kaṣāya's origins began with Bunso Costume (Clothes made from shit wipes in the toilet) and Haljeol Costume (Clothes made by dividing and splitting fabric), and based on this, Kaṣāya, which was introduced from India to China, has been changed to suit the climate due to the influence of environmental factors, and it can be seen that the changed Kaṣāya was transmitted from China as well in Korea. Second, the relics of Kaṣāya from the Three Kingdoms' era in Korea were able to infer the basic composition of the Tongdosa temple's <Sakyamuni Kaṣāya> and <Jajangyulsa Kaṣāya> to some extent, and through the appearance of monks’ costumes expressed on tomb murals such as Ssangyeongchong Tomb, it can be seen that the shape of Buddhist statue clothes revealing the right shoulder of the Kaṣāya without Jo (條) was worn. Third, in the Goryeo era, through <Huirangjosa wooden statue> at Haeinsa temple and Buddha statue, Ksitigarbha statue, Jinyeongdo, etc. expressed in Buddhist paintings, the composition of monk's robe could be specifically grasped. In the case of the Buddha statue as a standing figure statue, The expressions of Tongcheon costume (whole piece cloth costume) and Haljeol costume (split cloth costume) were expressed relatively equally, and in the case of a seated statue, unlike a standing figure statue, it was confirmed that the iconography expressing the Haljeol costume showed a high frequency. Although there was a limit to grasping all aspects of the development of Korean traditional Kaṣāya through the above studies, to some extent, it could be seen that the request and acceptance according to the changes of the times and the establishment of Kaṣāya are gradually completed with practicality and specificity.