국립중앙박물관 소장 유리건판의 華藏寺 指空和尙坐像에 대한 고찰

Abstract

The National Museum of Korea houses a great number of dry plate photographs taken during the period of Japanese colonial rule, including a photo of a sculpture of the Indian monk Sunyadisya (or Dhyanabhadra; Korean, Jigong) who propagated Buddhism in the early and middle fourteenth century during the Yuan Dynasty in China and the Goryeo Dynasty in Korea. When this photo was taken around 1917, the sculpture was enshrined at Hwajangsa Temple on Bobongsan Mountain in Jangdan-gun, Gyeonggi-do Province (in the present-day North Korean region). Since very few portrait sculptures of Buddhist monks survive in Korea, this photograph provides an invaluable archival source for studying relatively early seated sculptures of Master Sunyadisya. This paper infers the production date and background of the seated portrait sculpture of Master Sunyadisya at Hwajangsa Temple and examines the establishment and development of the related iconography. In 1326, Master Sunyadisya departed Yuan China for Goryeo. For two years and seven months, he spread Buddhist teachings among the people he met there, and came to exert considerable influence. He died in Yuan China in 1363, and in the following year his body was mummified by layering it with incense, lacquer, mud, and cloth. The mummy was cremated in 1368 and some of the ashes were sent to Goryeo. In 1372, Naong Hyegeun (1320– 1376), a favorite disciple of Master Sunyadisya, enshrined his ashes in a stupa at Hoeamsa Temple in Yangju, Gyeonggi-do Province. In 1393, Muhak Jacho (1327–1405), a disciple of Hyegeun, produced another stupa for Master Sunyadisya at Hwajangsa Temple. In this paper, I suggest two conjectures on the production date and background of the portrait sculpture of Master Sunyadisya at Hwajangsa Temple. First, the sculpture may have been created by disciples of Naong under the sponsorship of the royal family around 1385 at the end of the Goryeo period. Alternatively, it may have been created in the early years of the Joseon Dynasty when Muhak Jacho commissioned the production of a stupa for Master Sunyadisya at Hwajangsa in 1393. Either way, descendants of Master Sunyadisya are presumed to have participated in the creation of his portrait sculpture in the late fourteenth century. Iconographically, the crown on his head, long beard and eyebrows, and robe embellished with colorful patterns characterize this seated portrait sculptures of Master Sunyadisya at Hwajangsa Temple. According to records, Sunyadisya, a native of India, had an exotic look with dark skin and blue eyes. He was known in his later years to have grown his hair and mustache and prefer luxurious outfits like a secular person. These features are partially reflected in the seated portrait sculpture of Master Sunyadisya at Hwajangsa. The iconography of Sunyadisya in his portrait sculpture is maintained during the Joseon Dynasty in portrait paintings of Sunyadisya from the set of portrait paintings of the three masters Sunyadisya, Naong, and Muhak. Therefore, the dry plate photograph of the seated portrait sculpture of Master Sunyadisya at Hwajangsa Temple is of great significance in that it shows the early iconography of Sunyadisya from the late Goryeo or early Joseon periods as documented in literary records.