紫雲寺 木造阿彌陀佛坐像의 腹藏 「如意寶印大隨求陀羅尼梵字軍陀羅相」의 제작 배경

Abstract

There is a Dharani named ‘Yeouiboindeasugudharani-bumja-gundharasang(如意寶印大隨求陀羅尼梵字軍陀羅相)’ among the remains of Jawun-sa(紫雲寺)’s wooden Amitabha Buddha statues in Gwangju, South Jeolla Province. Since it has this name, it is likely based on Dharani Parati-sara stura(『隨求陀羅尼經』) and presumed to be made in 1184. There are two Chinese translations of Dharani Parati-sara stura(『隨求陀羅尼經』), which are Mahāpratisarā dhāraṇī(『佛說隨求卽得大自在陁羅尼神呪經』) volum 1(translated by Maṇi-cinta(寶思惟)) and Mahāpratisarā-vidyārājñī(『普遍光明淸淨熾盛如意寶印心無能勝大明王大隨求陀羅尼經』) volum 2(translated by Amogha-vajra(不空)). These Buddhist scriptures say that people can avoid fire(火不能燒]), be cured of diseases(治病), have children(求子安産), escape disasters(除難) and be removed from sins(罪障消滅) by Dharani Parati-sara. Dharani Parati-sara mandala were made according to the contents of these Buddhist scriptures during Tang(唐) and Song(宋) Dynasty. The main reasons why people made Dharani Parati-sara mandala were so that sins of the dead were extinguished so the dead would be reincarnated in good places. Overall appearances of Tang Dynasty’s Dharani Parati-sara mandala were ‘回’ styles and filled with Buddhist images. There are many Eight hand Bodhisattvas(八臂菩薩) as central pictures. After Song Dynasty ‘回’ styles were changed into shapes where the outer shape is rectangular and the inner shape is circular(外方內圓) styles and Tathagata(如來) styles showed up as central pictures. Among them, the Dharani Parati-sara mandala, discovered in Pagoda of Suzhou(蘇州) Ruiguangsi(瑞光寺), China, has diminished decorative features. Therefore it is most closely similar to Jawun-sa Dharani Parati-sara mandala which is ‘circle’ style and undecorated. It seems that the central figures of Jawun-sa Dharani Parati-sara mandala were a transitional phenomenon that ranged from Eight-hand Bodhisattvas to Tathagata style. Most of remaining Goryeo(高麗) Dynasty’s Dharani mandala were ‘circle’ style and left. Considering this, we can say that Dharani Parati-sara mandala followed traditional mandalaproduction of Goryeo Dynasty. Probably both conditions had an influence on Jawun-sa Dharani Parati-sara mandala. Jawun-sa’s Dharani Parati-sara mandala was kept in the wooden Amitabha Buddha statues. On the contrary other Dharani Parati-sara kept in mausoleums and pagodas during Tang and Song Dynasty. It is that this phenomenon followed trend of Goryeo Dynasty which kept Dharani, transcriptions of scriptures and prints in statues of the Buddha. Jawun-sa Dharani Parati-sara mandala was affected by traditional Dharani Parati-sara mandala production of Tang Dynasty based on the Dharani Parati-sara stura contents. At the same time, Jawun-sa’s Dharani Parati-sara mandala could possibly have been influenced by Ruiguangsi's Dharani Parati-sara mandala which started pursuing the formal changes that described the main designs as Bodhaśrī mudra Tathagata styles. It is that Jawun-sa’s Dharani Parati-sara mandala also followed traditional mandala production of Goryeo Dynasty which had maintained ‘circle’ style, had no decorations, and were kept in the statues of the Buddha for the the dead.