단단-윌릭 회화의 특색과 그 의미
A Study on the Peculiarity of the Paintings in Dandan-Uiliq
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참고문헌
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초록
The remains of Dandan-Uiliq in the territory of Khotan Kingdom are major sites of Southern Silk Road as a repository of paintings. The paintings of Dandan-Uiliq are assumed to be made in the 7~8th century, and characterized by a large number of panel paintings. Buried over 70years after its first excavation in the early 20th century, Dandan-Uiliq was back to the spotlight through re-excavating in 1998 and 2002. The art of Dandan-Uiliq has been researched as a part of the Khotanese art, rather than as an independent field; especially study on the paintings of Dandan-Uiliq has never been attempted in Korea so far. The temple ruins of Dandan-Uiliq were constructed as square shape with two of inner and outer corridors, and have Buddha's seat in the center. Paintings of Buddha and Bodhisattva were drawn at eye level on the walls, and paintings of 1000 Buddha are located between them. Small size-paintings of other deities were represented on the bottom of the walls. Paintings of deities were drawn in diversity such as Maheśhvara, Kumāra, Pṛthivī, and Hārītī. Moreover, animal-headed deities and Chāmuṇḍā were represented next to the paintings of them. A particularly large number of paintings of Horseman are shown in the paintings of Dandan-Uiliq. The paintings of Horseman were drawn on the walls as a cavalcade or on the panel as a single figure, and especially, the panel paintings of Horseman have not been discovered from other sites in Khotan. Nevertheless the paintings of Dandan-Uiliq are mainly considered as Khotanese art, there still exist insufficient aspects of previous studies on the particularity of Dandan-Uiliq paintings that can be found in some of the paintings of deities and those of Khotanese regional legend. The paintings of deities indicate both Indian Esoteric Buddhist elements such as animal-headed deity and Chāmuṇḍā and West Asian elements such as Sogdian deities and attributes in West Asian style. In India, Esoteric Buddhist art and many-faced-many-armed works were appeared from the 6th century, and prevalent in the 7~8th century. As the nearest city from India among East Turkestan countries, Khotan accepted those images earlier than any other countries. Not only Sogdian deities are represented in the paintings of Dandan-Uiliq, but also disc shapes of the sun and moon are repeated attributes in several paintings of deities, and these disc shapes resemble those in Sogdian art. The peculiarity on the paintings of Khotanese regional legend excavated in Dandan-Uiliq is represented through a masculine image similar to Pṛthivī, the Silk god's costume of the Persian style and a Horseman in West Asian clothes. The dappled horse in the paintings of Horseman was an indigenous product of Khotan, and the figure riding a horse is assumed to be a Khotanese king regarded as a descendant of Vaiśravaṇa or one of the eight guardians signified in Sūtras. These features in the paintings of Dandan-Uiliq are distinguished from later Khotanese paintings influenced by Tibetan Esoteric Buddhist art. Considering Dandan-Uiliq has been deserted from circa 795, it would be natural to assume that the peculiarity is appeared in the art of Dandan-Uiliq.
Abstract
The remains of Dandan-Uiliq in the territory of Khotan Kingdom are major sites of Southern Silk Road as a repository of paintings. The paintings of Dandan-Uiliq are assumed to be made in the 7~8th century, and characterized by a large number of panel paintings. Buried over 70years after its first excavation in the early 20th century, Dandan-Uiliq was back to the spotlight through re-excavating in 1998 and 2002. The art of Dandan-Uiliq has been researched as a part of the Khotanese art, rather than as an independent field; especially study on the paintings of Dandan-Uiliq has never been attempted in Korea so far. The temple ruins of Dandan-Uiliq were constructed as square shape with two of inner and outer corridors, and have Buddha's seat in the center. Paintings of Buddha and Bodhisattva were drawn at eye level on the walls, and paintings of 1000 Buddha are located between them. Small size-paintings of other deities were represented on the bottom of the walls. Paintings of deities were drawn in diversity such as Maheśhvara, Kumāra, Pṛthivī, and Hārītī. Moreover, animal-headed deities and Chāmuṇḍā were represented next to the paintings of them. A particularly large number of paintings of Horseman are shown in the paintings of Dandan-Uiliq. The paintings of Horseman were drawn on the walls as a cavalcade or on the panel as a single figure, and especially, the panel paintings of Horseman have not been discovered from other sites in Khotan. Nevertheless the paintings of Dandan-Uiliq are mainly considered as Khotanese art, there still exist insufficient aspects of previous studies on the particularity of Dandan-Uiliq paintings that can be found in some of the paintings of deities and those of Khotanese regional legend. The paintings of deities indicate both Indian Esoteric Buddhist elements such as animal-headed deity and Chāmuṇḍā and West Asian elements such as Sogdian deities and attributes in West Asian style. In India, Esoteric Buddhist art and many-faced-many-armed works were appeared from the 6th century, and prevalent in the 7~8th century. As the nearest city from India among East Turkestan countries, Khotan accepted those images earlier than any other countries. Not only Sogdian deities are represented in the paintings of Dandan-Uiliq, but also disc shapes of the sun and moon are repeated attributes in several paintings of deities, and these disc shapes resemble those in Sogdian art. The peculiarity on the paintings of Khotanese regional legend excavated in Dandan-Uiliq is represented through a masculine image similar to Pṛthivī, the Silk god's costume of the Persian style and a Horseman in West Asian clothes. The dappled horse in the paintings of Horseman was an indigenous product of Khotan, and the figure riding a horse is assumed to be a Khotanese king regarded as a descendant of Vaiśravaṇa or one of the eight guardians signified in Sūtras. These features in the paintings of Dandan-Uiliq are distinguished from later Khotanese paintings influenced by Tibetan Esoteric Buddhist art. Considering Dandan-Uiliq has been deserted from circa 795, it would be natural to assume that the peculiarity is appeared in the art of Dandan-Uiliq.
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