둔황 막고굴 천장 연화 속 세 토끼 모티프 고찰: 407굴을 중심으로

Abstract

The ceilings of the 18 Shu dynasty burial chambers of the Mogao cave in Dunhuang depict three hares, sharing ears, running in a circle in the center of a lotus flower in full bloom. This study examines the context in which this unprecedented hare iconography was adopted to decorate the ceilings of the Mogao cave. Since the three hares are the subject of the decoration, this study first examines the Buddhist view of the hares. In Indian Buddhist culture, a hare is recognized as an animal that was granted eternal life on the moon for its meritorious service to monks. Therefore, it is perceived as one of Buddha’s past lives. By visualizing the Jataka tales, this study establishes a foundation for the future use of hare motifs in Buddhist art. Furthermore, this study explores the various perspectives on hares in ancient Chinese culture, where hares were part of the cultural landscape long before the introduction of Buddhism. The hare was recognized as a symbol of fertility and longevity, and was featured in a bronze statue, while also serving as an agent of Xi Wang Mu for immortality medicine and a messenger that guides the deceased to the heavenly realm. Additionally, the hare was regarded as an immortal spirit that resides on the moon, with the moon image being an important iconography in traditional Chinese beliefs about hares. In Chinese beliefs, hares were often depicted as celestial beings living on the moon alongside toads, and these beliefs incorporated various positions and postures depicted in the original images of hares. This study elucidates how the spread of Buddhism was linked to the growing significance of hares in moon imagery, as well as the evolution of hare iconography to portray the act of pounding medicines in a mortar. In essence, Buddhist interpretations of pre-existing iconography reinforced the image of hares, as there was a shared belief in Buddhist- Chinese culture that hares inhabited the moon. To interpret the significance of the three hares depicted in the Mogao cave, this study also examined West Asian elements, such as the scarves around the hares’ necks and the pearl-round motifs found in Mogao Cave 407. In West Asia, animals wearing scarves represent messengers who guide the souls of the dead to the afterlife. However, in Mogao cave, by tying the sign of the messenger around the necks of hares and placing the lotus flower, which represents the Pure Land, at the center, the image wishes for the soul’s ascension and eternal life in paradise. In light of these observations, the three hares depicted in Mogao Cave 407 represent a unique fusion of traditional Chinese beliefs about hares and West Asian rebirth motifs, with Buddhist beliefs about rebirth and eternal life, conveying a Buddhist message. The interconnectedness of the hares, symbolized by their shared ears, represents a cohesive group, akin to the Three Jewels in Buddhism. The circular motion of the running hares, reminiscent of a rolling wheel, represents the concept of reincarnation, while the unceasing rotation without a clear beginning or end exemplifies the eternal nature of Buddhist teachings.