육조시대 산수화론의 形神觀 연구 - 「畵山水序」의 불교적 고찰을 중심으로

Abstract

In the Buddhist history of China, the Period of Six Dynasties is the period of ideological co-existence and confrontation for the foreign religion of Buddhism against Confucianism and Taoism. Under the circumstance, the issue of existence and non-existence of form and spirit was resulted in sharp dispute between the people of pro-Buddhism and anti-Buddhism regarding the Chinese understanding of samsara (the eternal cycle of birth, death, and rebirth) and retributive justice. While there was this dispute, Zong Bing(宗柄) of Eastern Jìn Dynasty drafted 「Ming Fo lun(明佛論)」on the basis of influence from his master, Lushan Huiyuan(廬山 慧遠) with the idea of Imperishable form-spirit ideas and presented with powerful pro-Buddhism. On the basis of the form-spirit ideas that denied monistic occurrence and extinction of form and spirit, he proposed the existence of spirit still surviving after the extinction of form. For Zong Bing, spirit that existed along by breaking away from the restraint of the form implies the return of original spirit, ultimatum for Buddhist principles as well as Dharmakaya itself. In addition, it implicates through the landscape as he marches toward the exclusively existing spirit. Originally, the landscape for famous people of the Period of Six Dynasties had been revered as the space to break away from the social chaos and personnel conflict as well as escaping from the restraint of moral principles. Zong Bing also toured all around the landscape with his passionate aspiration on such landscape all through his life, and furthermore, he handled the development of spirit at the level of Buddhist asceticism through his tour. In other words, for Zong Bing, the landscape is the realization of Buddhist doctrines as well as the space of divine response that is the foundation for sacred men to clear spirit in a way of fulfilling the truth in the form of character. Through 「Hua shan-shui hsu(畵山水序)」, he demonstrated the relativity of sacred man and landscape, as well as landscape and landscape painting, and considered that the function as the clearness of spirit for landscape actual existing is consistently applied and operated on the object of landscape painting. The interaction between landscape and landscape painting that he mentioned would be understand as the same logic to have the image for a relation becomes an object to be responsive to the high dignity of Dharmakaya. As such, his landscape painting theory that transformed the idea of Imperishable Spirit of Buddhism into the landscape painting theory clearly demonstrates how closely landscape and landscape painting, and the realization of Buddhism related with respect to the relativity of form and spirit. As such, the ideological system that Zong Bing structured has been accepted as comprehensive materialization for the implication of landscape perception and Buddhist acceptance as the space to break away with the meaning of transcending the world.