조선후기 사천왕상의 생령좌 연구

Abstract

In Buddhism, the Four Heavenly Kings refer to heavenly deities that protect the four directions at the mid-slope of Meru and uphold Buddha’s laws. They are: King Dhrtarastra, the fearful aspect of the guardian in the east in white with a sword in his hand; King Virupaksa, the guardian in the west in red with a stupa in his hand; King Virudhaka, the guardian in the south in the form of a blue dragon, and; King Vaisravana, the guardian in the north in black with a lute in his hand. Their seats are living creature pedestals, lotus pedestals, cloud pedestals, stone pedestals, heavenly cloth pedestals, etc. Living pedestals refer to all living things -- such as apsaras, humans, hungry ghosts, and animals --used as pedestals. Carvings of the Four Heavenly Kings made in the late Joseon period show only living creature pedestals. The number of works left as those using living creature pedestals in the carvings of the Four Heavenly Kings made in the late Joseon period comes to 94 in 14 temples. They were made between the mid-16th Century (1515) and the early 18th Century (1725). Wood-made or clay-made ones are distributed across the country. The appearing of the living creature pedestals in carvings of the Four Heavenly Kings made in the late Joseon period are shown in two kinds of appearances; a kneeling appearance and the appearance of the living creature pedestals seats being trampled by the Four Heavenly Kings. Living creature pedestals were thought to have been made in a kneeling position and were placed close to the legs of the kings to support them more stably and to prevent breakage in the production of the images of the outsized Four Heavenly Kings. There are also human-shaped seats, portrayed as noble-class people in hats and full-dress attire or women or commoners. Demons serving as seats show a menacing appearance, i.e., horn-headed or with protruding teeth. Those made in the 16th and 17th Centuries mostly use demons as living creature pedestals. Many of those made in the 18th Century use humans. The increase in the use of humans as living creature pedestals in the 18th Century appears to reflect the way grassroots people viewed the nobility or corrupt officials. Living creature pedestals of the carvings of the Four Heavenly Kings made in the late Joseon period are in kneeling position or are trampled upon by the kings. Carvings made between the 16th Century and mid-17th Century show living creature pedestals kneeling down under the left leg of the king or trampled upon by the right leg. Those made in the late 17th Century show living creature pedestals in an opposite position, i.e., kneeling down under the right leg of the king or trampled upon by the left leg. By the 18th Century, a mixture of the two positions appeared. These living creature pedestals were found to have a wooden piece sealing the abdomen and carry objects on their hand. Such is thought to indicate that these living creature pedestals, being lowly deities, look up to the Four Heavenly Kings. Living creature pedestals in these carvings are thought to portray all living things ranging from Apsaras to beasts as lowly deities looking up to the Four Heavenly Kings. Their role was expanded by the late Joseon period. In other words, human living creature pedestals appeared in association with the need to punish bad people and subjugate them. Living creature pedestals that kneel down and uphold the leg of the king refer to the role of looking up to and assisting the Four Heavenly Kings. Living creature pedestals trampled upon by the leg of the king show their subjugation to the Four Heavenly Kings. Such subjugation of the living pedestals by the Four Heavenly Kings is thought to be intended to remind the people passing the Heavenly Kings’ Gate of the need to change their evil ways and have a righteous mind.