雲岡石窟 제5･6굴의 구조와 의례에 관한 연구

Abstract

This study aims to find effective clues about functions in Buddhist art through rituals, Buddha statues, and space as religious practices. Therefore, before Buddhism was introduced and rituals were systematized, it illustrates the situation of Nánbeaicháo's times well and pays attention to the royal court-made Yongang Grotto. Starting with Five Caves of Tanyao, Yongang Grotto shows great changes in the structural form and interior decoration of oysters depending on the period. The first phase, Five Caves of Tanyao, is a relatively simple composition in the form of a single cave, and has the character of Chusun-cave, which contains the idea of 'king is Buddha'. As the second phase approaches, twin cave forms appear, and there are many different statues made based on various scriptures. In particular, the 5th and 6th caves in the second phase are twin caves, but they are unique because different structural formats form a set. Therefore, I would like to clarify the background of the 5th and 6th caves from the perspective of the function of Buddhist art, find the structure and ideological basis of the stone cave, and examine its nature and rituals through related scriptures. The 5th and 6th caves, which are twin caves, were uniquely made for one emperor, not for two emperors. What was made of double caves for one emperor was that the emperor-cave and the Sakyamuni-cave were made into a set, which is understood to better reveal the idea of King is Budha visually by arranging two images of Buddha and king side by side. Also, the creation of caves 5 and 6 contains the virtue of building Buddha images and pagodas based on the 『Lotus-Sutra』. And I think Wénmíng tàihòu contains the purpose of ‘The stability of the country’ hoping ‘To be reborn as a woman’ and to be well-being of Emperor xiaowowén. On the other hand, the unique structure of the 5th and 6th caves can be understood as the nature of the temple in terms of the entrance to the pavilion structure, the two-room structure, and the construction of a huge Buddha statue and tower. Above all, it suggests the possibility of full-scale ceremony in terms of function as a Temple cave. Since The 5th and 6th caves are Chusun-cave of Emperor xiawnwéni, it is highly likely that the same ritual as Banjusammei of Chusun-ceremony where others hope to be reborn. The 5th and 6th caves are full of various Buddha statues that can be understood based on various scriptures. In particular, Buddha statues such as Seated State of Two Buddha States, Sixteen Buddha States in the Sixteen Gods, MaitreyanaathaBodhisattva, and A Thousand Buddhas Buddhas are directly and indirectly shaped 『Lotus-Sutra』. When looking at the importance of the size and arrangement of the Buddha statues comprehensively, it is judged that 『Lotus-Sutra』 is the background of the ideological faith that presides over the characteristics of the 5th and 6th caves as a whole. In addition, although unorganized ceremony is introduced in 『Lotus- Sutra』, the method of performing Fahuachanbeop of Zhi-yi is similar. Therefore, it is believed that in The 5th and 6th caves, a ceremony related to 『Lotus-Sutra』 in the same order as Fahuachanbeop was performed. In particular, the emergence of Corridor of The 5th and 6th caps, which was not in the Five Caves of Tanyao, further increases the possibility of such a ceremony.