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眞容의 遺産: 淸 乾隆帝의 五臺山 옮기기

The Legacy of “True Image” : Qing Emperor Qianlong’s Translation of Mount Wutai

최선아
중국사학회|2015.02|중국사연구 (CHUNGGUKSA YONGU; The Journal of Chinese Historical Rsearches)|제94호|pp. 145-187

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참고문헌

키워드

건륭제오대산五臺山乾隆帝文殊문수진용수상사승덕보상사殊像寺眞容承德寶相寺

초록

This paper examines Emperor Qianlong (r. 1736-1796)’s reception of the Manjusri statue at Shuxiang si of Mount Wutai and his rationale behind the replication of it at Baoxiang si in Xiangshan (1761) and Shuxiang si in Chengde (1774). It begins by following questions: why did Qianlong commission a replication of Shuxiang si at Xiangshan in 1761 as a way of translating Mount Wutai? Why did he decide to replicate Mount Wutai again in spite of the presence of Baodi si which he commissioned ten years ago for the same purpose? Why did he newly focus on the Manjusri statue at Shuxiang si in around 1761, although he already knew about it? By answering these question, I first of all investigate the logic behind the transposition of the sacred place by Qianlong, based on J.Z. Smith’s theory on the metonymical and metaphorical projects. I argue that the two projects were employed by Qianlong in the most effective way, under the rubic of bu’er, or no difference. Second, I propose that the notion of zhenrong, or true image was significant in Qianlong’s re-appreciation of the Manjusri statue at Shuxiang si, which was regarded as the true image of the bodhisattva. By comparing his attitude toward the Luohan painting by Guanxiu—one of the famous true images in Chinese tradition—with that toward the true image of bodhisattva Manjusri at Shuxiang si, I demonstrate that what Qianlong attempted was to shape himself as the one who could not only recognize and possess zhen, but also correct and reshape it. Finally, I highlight that the notion of zhen embedded in the Shuxiang si statue was essential in Qianlong’s scheme of visually revealing his identification as the bodhisattva Manjusri. By transgressing the conceptual boundaries between zhen and its representations, he effectively conflated replicas of the true image at Xiang shan and Chengde with himself.

Abstract

This paper examines Emperor Qianlong (r. 1736-1796)’s reception of the Manjusri statue at Shuxiang si of Mount Wutai and his rationale behind the replication of it at Baoxiang si in Xiangshan (1761) and Shuxiang si in Chengde (1774). It begins by following questions: why did Qianlong commission a replication of Shuxiang si at Xiangshan in 1761 as a way of translating Mount Wutai? Why did he decide to replicate Mount Wutai again in spite of the presence of Baodi si which he commissioned ten years ago for the same purpose? Why did he newly focus on the Manjusri statue at Shuxiang si in around 1761, although he already knew about it? By answering these question, I first of all investigate the logic behind the transposition of the sacred place by Qianlong, based on J.Z. Smith’s theory on the metonymical and metaphorical projects. I argue that the two projects were employed by Qianlong in the most effective way, under the rubic of bu’er, or no difference. Second, I propose that the notion of zhenrong, or true image was significant in Qianlong’s re-appreciation of the Manjusri statue at Shuxiang si, which was regarded as the true image of the bodhisattva. By comparing his attitude toward the Luohan painting by Guanxiu—one of the famous true images in Chinese tradition—with that toward the true image of bodhisattva Manjusri at Shuxiang si, I demonstrate that what Qianlong attempted was to shape himself as the one who could not only recognize and possess zhen, but also correct and reshape it. Finally, I highlight that the notion of zhen embedded in the Shuxiang si statue was essential in Qianlong’s scheme of visually revealing his identification as the bodhisattva Manjusri. By transgressing the conceptual boundaries between zhen and its representations, he effectively conflated replicas of the true image at Xiang shan and Chengde with himself.

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진용(眞容): 인도 보드가야 항마촉지인 불좌상에 대한 중국 당대(唐代) 불교도들의 인식과 수용최선아미술사와 시각문화학회 · 미술사와 시각문화2009 · 제8호乾隆帝의 ‘景觀經營’에 대한 고찰권석환한국중국산문학회 · 中國散文硏究集刊2022 · 제13호돈황(敦煌) 막고굴(莫高窟) 제61굴과 오대산(五臺山) 문수진용(文殊眞容)최선아민족문화연구원 · 민족문화연구2014 · 제64호乾隆 肖像畵, 제국 이미지의 형성 -<乾隆洗象圖>와 <乾隆觀畵圖>를 중심으로-유재빈중국사학회 · 중국사연구2006 · 제42호대불(大佛)로서의 운강 담요오굴 재고(再考)최선아중앙아시아학회 · 중앙아시아연구2020 · 제25권 제2호佛象臺座의 博山香爐, 그 이미지와 含意임영애중국사학회 · 중국사연구2014 · 제91호

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