黃壽永博士의 寫經 연구와 의의 - 사경의 재발견과 새로운 연구 시각 -

Abstract

The main area of Hwang Soo‐yeong’s research is Buddhist sculpture but he left many writings about general Buddhist arts. Although Hwang did not write many about sutra copying, the writings are meaningful in that he took note of the importance of this branch, emphasized sutra copying as an important area of research in art history, and suggested directions for research. Hwang Soo‐yeong’s achievements related to sutra copying can be divided into his research on individual copied sutras, and his works of excavating, judging, and garnering copied sutras. Previous studies on sutra copying are concentrated on Silla Avataṃsaka Sūtra (National Treasure No. 196) and sutra copying in the Goryeo Dynasty, in particular, king‐sponsored sutra copying. With regard to Avatamsaka Sutra (of 8 sets), it is presumed that there was an illustration on the cover of each set, and therefore, it is hard say that this sutra illustration belongs to either of the two discovered sets. Accordingly, this drawing is hardly related to the set containing sutra volumes 44‐50, and rather it was said to draw Buddha and Bodhisattva as a frontispiece. In other words, he clarified the view that the illustration cannot be considered to indicate one of 9 masses in the Painting of Avatamsaka Sutra. But he was no longer discussed this issue in details. Considering the current state of Silla Avataṃsaka Sūtra, it is considered valid to see that it is an icon comprehending all Avataṃsaka Sūtra Buddhist masses as a frontispiece. Another remarkable achievement is that most of copied sutras from the Goryeo Dynasty owned by Korean and overseas institutions and individuals were garnered through his authentication. In particular, Saddharma‐pundarika Sutra (1373, National Treasure No. 185, kept in the National Museum of Korea) is a complete set of 7 volumes, which was handed down at the Dogap‐sa Temple and carried out to Japan during the period under the Japanese imperialism. He encouraged an individual to buy it and donate it to the National Museum of Korea. This is a noteworthy case in that a cultural property carried out overseas was recovered. Dr. Hwang’s research achievements on sutra copying were general studies through bibliographical or historical approaches, but they should be appreciated highly in that materials that he excavated and presented provide a base for future scholars to make more advanced studies on art history, calligraphy history, bibliography, historical studies, etc. It is also required to broaden the view of research on sutra copying including the quality of paper and color, and linguistic issues, and to continue in‐depth research with new perspectives and methodologies. These works should be done by future scholars because sutra copying is the aggregation of culture in the corresponding ages.