돈황막고굴 158굴 열반도상의 연구

Abstract

In order to discuss the transitional development of Buddhist art of Parnivāṇa themes of parinirvāṇa in Cave 158, one of Mogao caves at Dunhuang, were examined through iconographic analysis. It is considered that the iconography of parinirvāṇa which is characterized with the lion’s position, a comfortable posture of laying down on the right side, was originally developed in Gandhara (Ancient India). While the iconography of parinirvana in Cave 158 are basically heir to the iconographic characteristics of traditional Gandharan Buddhist art, some new iconographic elements developed in Central Asia can also be found in the paintings on the wall such as (1) the Buhhha’s last disciple Subhadda who entered into Samādhi representing with flame around his body, and (2) Mouring gestures of rulers of many countries expressing grief, representing as form of self-inflicted pain. It is also noted that, among the themes of the parinirvāṇa scene “Vajrapani” is often seen in Gandharan art based on Hinayana Nirvana Sutra. However, the themes of “Bodhisattvas”, “Four Devas”, and “Eight Classes of Divine Beings”, represented in the painting of the parinirvāṇa scene in the Cave 158, are develoed based on the Mahayana Mahaparinirvāṇa Sutra, and are not found in Gandharan art of Parinirvāṇa. In addition, for the first time in china, the 16 Arahats are represented in the parinirvāṇa scene of cave 158 at Dunhuang. This shows the absorbtion of chinese peligious belief of arahats. It seems that the scene of “Lady Maya descending from Trāyastriṃśa (忉利天)” painted on the upper part of right wall was influenced by the idea of confucianism which emphasizes the thought of filial piety, and this scene stands in contrast to the image of “Mahākāśyapa hurrying up to Kushinagar” painted on the upper part of left wall. It is noticeable that Śakyamuni is represented on the center with large-sized clay statue as the object of worship and paintings on the walls are represented with narrative elements closely related with death of Buddha in Cave 158 showing new iconographic characteristics of parinirvāṇa scene quite different from early Gandharan examples.