인도 불교 문헌과 미술에 보이는 <제석굴 삼매/설법>
The “Visit of Indra” in Textual and Visual Traditions of Early Indian Buddhism
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Probably the most celebrated cave in Buddhist historical sources is the Shadow Cave in ancient Nagarahāra, the present Jalālābād valley in eastern Afghanistan. However, its prominence in Indian Buddhism was significantly limited, applicable only to the northwestern part of the subcontinent, for there is no indication of any attention drawn to it in India proper. In both visual and scriptural traditions in India, more distinguished was Indraśailaguhā (Indra’s stone cave) or Indrasālaguhā (Indrasāla tree cave). It was the locus of an episode commonly known as the “Visit of Indra” from the legendary life of Śākyamuni Buddha, purportedly located near Rājagrha in Magadha. This famous story, which I will refer to simply by the name of the cave, Indraśailaguhā, tells the Buddha’s deep absorption in a samādhi in the cave, the awakening of the Buddha by the music played on a harp by the gandharva Pañcaśikha, and Indra’s visit to the cave and subsequent dialogue with the Buddha on doctrinal problems. Unlike the Shadow Cave, the incident is recounted in a number of canonical texts of Indian Buddhism, most notably in the Sakkapañhasutta of the Pāli Dīgha-nikāya and its equivalents (Śakrapraśna) in the Chinese Dīrghāgama and Madhyamāgama, and remarks alluding to it are found in many other places in the scriptural tradition. It was also quite a popular theme in visual monuments, as its depictions are seen in wide areas and in large numbers. This paper explores the conception of the theme in textual and visual traditions of early Indian Buddhism. It particularly notes the presence of a separate textual tradition in two sūtras of the Buddha's life preserved in Chinese translations, Taizi ruiying benqi jing and Puyaojing. Intriguingly, the tradition treats the theme as part of the Entreaty to Preach by Brahmā and Indra. It was possibly known in Kushan Mathurā and assimilated in Gandhāran visual tradition as well. The paper also draws attention to the account of the theme in another text, Karunapundarīka, which could have been created on the basis of the knowledge of contemporary Gandhāran visual monuments.
Abstract
Probably the most celebrated cave in Buddhist historical sources is the Shadow Cave in ancient Nagarahāra, the present Jalālābād valley in eastern Afghanistan. However, its prominence in Indian Buddhism was significantly limited, applicable only to the northwestern part of the subcontinent, for there is no indication of any attention drawn to it in India proper. In both visual and scriptural traditions in India, more distinguished was Indraśailaguhā (Indra’s stone cave) or Indrasālaguhā (Indrasāla tree cave). It was the locus of an episode commonly known as the “Visit of Indra” from the legendary life of Śākyamuni Buddha, purportedly located near Rājagrha in Magadha. This famous story, which I will refer to simply by the name of the cave, Indraśailaguhā, tells the Buddha’s deep absorption in a samādhi in the cave, the awakening of the Buddha by the music played on a harp by the gandharva Pañcaśikha, and Indra’s visit to the cave and subsequent dialogue with the Buddha on doctrinal problems. Unlike the Shadow Cave, the incident is recounted in a number of canonical texts of Indian Buddhism, most notably in the Sakkapañhasutta of the Pāli Dīgha-nikāya and its equivalents (Śakrapraśna) in the Chinese Dīrghāgama and Madhyamāgama, and remarks alluding to it are found in many other places in the scriptural tradition. It was also quite a popular theme in visual monuments, as its depictions are seen in wide areas and in large numbers. This paper explores the conception of the theme in textual and visual traditions of early Indian Buddhism. It particularly notes the presence of a separate textual tradition in two sūtras of the Buddha's life preserved in Chinese translations, Taizi ruiying benqi jing and Puyaojing. Intriguingly, the tradition treats the theme as part of the Entreaty to Preach by Brahmā and Indra. It was possibly known in Kushan Mathurā and assimilated in Gandhāran visual tradition as well. The paper also draws attention to the account of the theme in another text, Karunapundarīka, which could have been created on the basis of the knowledge of contemporary Gandhāran visual monuments.
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