염거화상탑과 대안사 적인선사조륜청정탑의 비교고찰

Abstract

The main objective of this paper is to compare the decorative patterns and architectural structures of the Yumgeo Hwasang Stupa and the Jeok-in Seonsa Stupa while examining their evolutionary changes. The ultimate aim is to establish that the Jeok-in Seonsa Stupa represents the culmination of the octagonal monk stupa style. To achieve this, Chapters II and III analyze the formal characteristics of both the Yumgeo Hwasang Stupa and the Jeok-in Seonsa Stupa. The Yumgeo Hwasang Stupa is configured in an octagonal plan from the base stones to the final stone, featuring lion sculptures, ansang (眼象) motifs, and lotus flower motifs on the lower base. The upper ornamental stones and the body are adorned with four heavenly king statues, door panels, and heavenly beings. Notably, the monk stupa meticulously replicates wooden architectural principles in stone, faithfully rendering the octagonal monk stupa form, particularly in the body's wall structures and roof. Subsequent monk stupas constructed in a similar fashion do not deviate significantly from this style, thus confirming the Yumgeo Hwasang Stupa as the starting point for the octagonal monk stupas style. In contrast to its predecessor, the Jeok-in Seonsa Stupa exhibits increased dimensions, elaborate decorative patterns, and refined expression. It gradually evolves from its initial style into a more typical and accomplished form. While maintaining the fundamental structure of the Yumgeo Hwasang Stupa, the Jeok-in Seonsa Stupa enhances its decorative intricacies, such as middle stone supports on the lower base stone, elaborately carved triple lotus panels on the upper stone, and ornate relief patterns on the body, setting it apart from its predecessor. In Chapter IV, a comparative analysis of the ornate patterns and the presence of structural elements in both monk stupas was conducted. Elements such as lion sculptures, lotus flower motifs, door panels, architectural styles of wooden roofs covered with roof tiles and eaves, and four heavenly king statues were generally presented with increased intricacy in the Jeok-in Seonsa Stupa compared to the Yumgeo Hwasang Stupa, reflecting elements from the latter while also embarking on new and confident stylistic endeavors. Furthermore, it was observed that in the Jeok-in Seonsa Stupa, elements like clearly defined middle stone supports, the integration of the upper stone with the body in a harmonious manner, and the ornate lotus flower motifs on the upper surface of the body all appeared for the first time. These elements were noted for their dense expression of reverence towards the monk stupa’s body. Through these analyses, it can be inferred that the Do-eui Seonsa Stupa represents an initial stage in the genre of stupas. It featured minimal decorative elements like door panels and lotus flower motifs on the stupa’s body, incorporating established sculptural techniques from pre-existing monuments. In contrast, the Yumgeo Hwasang Stupa embraced the octagonal monk stupa style with a variety of ornate decorations, shaping it into a more typical form. Furthermore, the Jeok-in Seonsa Stupa achieved both visual and structural stability, culminating in the completion of the octagonal monk stupa style. It introduced elements like well-defined middle stones, the integration of the stupa body with the upper ornamental stone in a harmonious manner, and intricate lotus flower motifs on the upper surface of the stupa body. This marked the full realization of the octagonal monk stupa style in the Jeok-in Seonsa Stupa. Lastly, it was noted that when Buddhist sculptures and artworks from other regions were introduced into the Honam region of the Korean Peninsula, they tended to undergo artistic elevation. This tendency was observed not only in monk stupas but also in stone stupa and stone lanterns. It underscores the cultural vibrancy of the Honam region, characterized by its ability to go beyond the confines of existing styles and create new forms. The completion of the Silla octagonal monk stupa style in the Jeok-in Seonsa Stupa can also be understood within this cultural context.