돈황(敦煌) 막고굴(莫高窟) 제61굴과 오대산(五臺山) 문수진용(文殊眞容)
Cave 61 at Mogao Grotto in Dunhuang and the True Visage of Bodhisattva Manjusri at Mount Wutai in China
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참고문헌
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초록
10세기 중엽 경 돈황 막고굴에 조영된 제61굴에는 15.5미터의 길이에 달하는 주벽에 <오대산도(五臺山圖)>가 그려져 있다. 중국 산서성(山西省)에 위치한 오대산은 늦어도 7세기부터 문수보살의 주처(住處)로서 여러 가지 신비로운 화현(化現)이 목도되는 곳으로 여겨졌다. 따라서 중국 내에서 뿐 아니라 한국과 일본, 심지어 인도에서도 여러 구법승(求法僧) 및 신도(信徒)들이 순례(巡禮)를 오는 성지(聖地)가 되었다. 그리고 10세기에는 특히 문수보살의 참모습(眞容)을 그대로 본떴다고 알려진 보살상이 큰 인기를 얻게 되었다. 본 논문은 이러한 오대산의 현황을 벽화로 재현한 막고굴 제61굴의 의미와 기능을 성지의 전위(轉位, transposition)이라는 관점에서 해석한다. 사자를 탄 문수보살의 상을 불단 위에 놓고, 그 뒤편으로 펼쳐진 주벽에 <오대산도>를 배치한 제61굴의 구성이 10세기 당시 오대산 지역에서 행해지던, 진용이라 불리던 상을 중심으로 한 순례의 패턴을 그대로 재연(reenact)했음을 문헌, 시각 자료의 고찰을 통해 밝힌다.
Abstract
The 10th century was one of the most prosperous periods in the history of Dunhuang. Old Buddhist shrines were assiduously renovated, and new cave chapels were successively constructed in an unprecedentedly grandiose scale. The centerpiece of this paper is one of such Buddhist cave chapels, Cave 61, which was commissioned by the illustrious Cao family, the de facto ruler of the region, sometime in mid-10th century. The uniqueness of the cave is found in two aspects. First, it stores the well-known panoramic depiction of Mount Wutai, a Buddhist sacred mountain located in northeast China and is believed as the abode of the Bodhisattva Manjusri. Second, it housed the imposing bodhisattva icon which is now-missing, but once stood on the central altar of the cave, surrounded by a depiction of the mountain as its backdrop. This paper addresses the ways in which Cave 61 captures a critical moment in the development of Mount Wutai as a cultic site: the moment when the pattern of traveling the mountain shifted from wandering and wondering in search for the fleeting visions of the deity to the worship of a particular icon, which was named zhenrong (true visage), and sanctified by legends as the materialized vision of the bodhisattva Manjusri. By highlighting the link between the hitherto-neglected bodhisattva statue in the cave and the centrality of the zhenrong icon at Mount Wutai, I demonstrate that Cave 61 was built as a substitute for the local devotees, effectively reenacting the pilgrimage at the cultic center in its miniaturized and transposed setting.
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