본문 바로가기
KERD
논문KCI 등재

The “Lion and Kunlun Slave” Image: A Motif of Buddhist Art Found in Unified Silla Funerary Sculpture

Youngae LIM
동아시아학술원 (The Academy of East Asian Studies)|2018.10|Sungkyun Journal of East Asian Studies|제18권 제2호|pp. 153-178|DOI 10.21866/esjeas.2018.18.2.002

0

조회

0

다운로드

0

인용

0

참고문헌

키워드

Buddhist artroyal tombs“lion and Kunlunnu” MañjuśriˉUnified Silla dynasty
주제분류학제간연구

초록

This paper explores two main issues. The first issue is the Southeast Asian figure of the Kunlunnu 崑崙奴 and the appearance of this figure in East Asian Buddhist art; specifically, how this figure is portrayed as the lion tamer of Mañjuśriˉ. The second concern is centered on examples of the “Lion and Kunlunnu” image that appear in the tombs of Unified Silla (676–935). Until now, the figure carved on the corner pillar of the Unified Silla royal tomb at Kujo˘ng-dong 九政洞 has been identified as a “Westerner with a polo stick.” This paper proposes that the figure and the adjacent lion relief should be reinterpreted as a representation of the Buddhist image of the “lion and Kunlunnu” attendant of Mañjuśriˉ. Thus, this relief serves as an example of the close relationship between the sculpture of the Unified Silla royal tombs and Buddhist art.

Abstract

This paper explores two main issues. The first issue is the Southeast Asian figure of the Kunlunnu 崑崙奴 and the appearance of this figure in East Asian Buddhist art; specifically, how this figure is portrayed as the lion tamer of Mañjuśriˉ. The second concern is centered on examples of the “Lion and Kunlunnu” image that appear in the tombs of Unified Silla (676–935). Until now, the figure carved on the corner pillar of the Unified Silla royal tomb at Kujo˘ng-dong 九政洞 has been identified as a “Westerner with a polo stick.” This paper proposes that the figure and the adjacent lion relief should be reinterpreted as a representation of the Buddhist image of the “lion and Kunlunnu” attendant of Mañjuśriˉ. Thus, this relief serves as an example of the close relationship between the sculpture of the Unified Silla royal tombs and Buddhist art.

참고문헌 (66)

  1. . 100 rolls. Taishoˉ 25,
  2. Du You 杜佑, ". 200 rolls" (1988), Zhonghua shuju
  3. Guo Pu 郭璞, ". 18 rolls" (2004), Beijing tushuguan chubanshe
  4. ". 20 rolls" (1876), Zhejiang shuju
  5. . 100 rolls. Taishoˉ 2128,
  6. I-Tsing 義淨, ". 4 rolls. Taishoˉ 2125" (1982), The Clarendon Press
  7. Jiu Tangshu 舊唐書, ". 200 rolls" (1971), Zhonghua shuju
  8. Li Daoyuan 酈道元, "40 rolls" (2009), Beijing airusheng shuzi hua jishu yanjiu zhongxin
  9. Ouyang Xiu 歐陽修, ". 225 rolls" (1971), Zhonghua shuju
  10. Pei Xing 裵鉶, (2006), P’uru˘nsup
  11. (1971), Zhonghua shuju
  12. ". 1000 rolls" (2009), Beijing airusheng shuzi hua jishu yanjiu zhongxin
  13. Changhwan Kim, (2004), Hakkobang
  14. Wang Pu 王溥, ". 100 rolls" (1990), Zhonghua shujun
  15. Zanning 贊寧, ". 30 rolls" (2009), Beijing airusheng shuzi hua jishu yanjiu zhongxin
  16. Zhang Yanyuan 張彦遠, "Yo˘ktae myo˘nghwagi. Book 1" (2008), Sigongsa
  17. "Seikyuˉ gakusoˉ 靑丘學叢", 1963, 75~104
  18. "Bukkyoˉ geijutsu 佛敎藝術", 1993, 67~
  19. 최재영, "唐代長安의 朝貢使節의 변화와 鴻臚寺의 기능", 동북아역사논총, (24), pp.257~299 (2009), 동북아역사재단
  20. 최진아, "崑崙奴、 他者、 幻想", 중국어문학지, (25), pp.373~382 (2007), 중국어문학회
  21. 최영성, "고운 최치원의 생애 재고찰 ­ 생애의 중요한 몇 장면들", 한국철학논집, (51), pp.9~43 (2016), 한국철학사연구회[DOI]
  22. "Ji’nanxuebao 暨南學報哲學社會科學版", 2002, 79~84
  24. Dunhuang Wenwu Yanjiusuo 敦煌文物硏究所, ". 5 Vols" (1982), Wenwu chubanshe
  25. Dunhuang Yanjiuyuan 敦煌硏究院, ". 25 Volumes" (1999), Shangwu yinshu guan
  26. Eckfeld, Tonia, "Imperial Tombs in Tang China, 618–907: The Politics of Paradise" (2005), outledgeCur
  27. "Fukatsu Yukinori 深津行德", Gakushuˉin daigaku Toˉyoˉ bunka kenkyuˉsho 學習院大學東洋文化硏究所, ~, pp.Choˉsa kenkyuˉ hoˉkoku 調査硏究報告 44 (1999)
  28. "Zhonghua wenshi luncong 中華文史論叢", 2006, 1~27
  29. "Pulgyo misulsahak 佛敎美術史學", 2006, 69~106
  30. 임영애, "신라하대 왕릉 조각의 완성, 원성왕릉 조각의 제작시기 재검토- 왕릉 조영과 왕릉 조각의 시기 불일치 문제 -", 불교미술사학, 14, pp.007~033 (2012), 불교미술사학회
  31. 임영애, "신라 왕릉 조각의 미술사적 조망과 특수성", 신라문화, 41(41), pp.135~162 (2013), 신라문화연구소
  32. 임영애, "인식과 재현–미술사적 관점에서 본 ‘신라와 서역’–", 신라사학보, (28), pp.423~456 (2013), 신라사학회
  34. 왕, 그의 다양한 시각화, "중앙아시아연구", 2016, 49~74, pp.중앙아시아학회, 10.29174[DOI]
  35. "Shaoxing wenli xueyuan xuebao 紹興文理學院 學報", 2011, 43~46
  36. 강희정, "미술을 통해 본 唐 帝國의 南海諸國 인식", 중국사연구, (72), pp.39~66 (2011), 중국사학회
  37. Kang, Heejung, "Kunlun and Kunlun slaves as Buddhists in the eyes of the Tang Chinese", Kemanusiaan, 22(1), pp.27~52 (2015)
  38. "Pulgyo misul 불교미술", 1973, 25~75
  39. Kang Ubang 강우방, (1990), Yo˘rhwadang
  40. Kang Ubang 강우방, (2000), Yo˘rhwadang
  41. yoˉshinsha, , 2010
  42. "Bijutsushi 美術史", 1995, 43~59
  43. Kungnip Kyo˘ngju Pangmulgwan, (2007), Kungnip Kyo˘ngju Pangmulgwan
  44. 권오영, "狼牙脩國과 海南諸國의 세계", 백제학보, (20), pp.213~237 (2017), 백제학회[DOI]
  45. Kwo˘n Yo˘ngp’il 권영필, (1997), Yo˘rhwadang
  46. "Wenshi 文史", 1982, 292~298
  47. "Qilu xuekan 齊魯學刊", 1985, 16~27
  48. "Hai jiaoshi yanjiu 海交史研究", 2004, 58~62
  49. 임영애, "STONE STATUES AT THE ROYAL TOMB OF KING SŎNGDŎK (聖德王): THE BEGINNING OF ROYAL FUNERARY SCULPTURE IN THE SILLA DYNASTY", Acta Koreana, 20(2), pp.471~499 (2017), 한국학연구원[DOI]
  50. Liu Xiangyang 劉向陽, (2012), Shaanxi chubanjituan sanqin chubanshe
  51. Min Pyo˘nghun 민병훈, (2015), T’ongch’o˘n munhwasa
  52. Nakamura Ryoˉhei 中村亮平, (1929), Unsoˉdoˉ
  53. ”, "Mikkyoˉ zuzoˉ 密敎圖像", 2004, 1~25
  54. 박광연, "한국 오대산신앙 관련 자료의 재검토 - 『삼국유사』 기록의 비판적 해석 -", 사학연구, (118), pp.203~232 (2015), 한국사학회
  55. "Pangmulgwan sinmun 박물관신문 271", 1994
  56. Shaanxisheng wenwuju 陝西省文物局, (2004), Shanghai shuhua chubanshe
  57. "Nihon Keizai Shimbun", 1992
  58. Shaanxi lishibowuguan 陝西歷史博物館, (1991), Wenwu chubanshe
  59. "Wenwu 文物", 1972, 33~44
  60. "Misulsahak yo˘n’gu 미술사학연구", 1965, 152~153
  61. Sun Xiaogang 孫曉崗, (2007), Gansu renmin meishu chubanshe
  62. Whitfield, Roderick, "The Art of Central Asia: The Stein Collection in the British Museum. 3 Volumes" (1982), Published by Kodansha International 講談社インターナショナル株式會社 in cooperation with the Trustees of the British Museum
  63. Wilensky, J., "The magical Kunlun and devil slaves: Chinese perceptions of dark skinned people and Africa before 1500", Sino-Platonic Papers, 122, pp.1~51 (2002)
  64. Yi Ku˘ njik 이근직, (2012), Hagyo˘n munhwasa
  65. "Kepu wenhua 科普文化", 2010, 165~166
  66. Zhongguo Dunhuang bihuaquanji bianji weiyuanhui 中國敦煌壁畵全集編輯委員會, "8" (2001), Tianjin renmin meishu chubanshe

관련 논문AI추천

Tree Motifs in Seventh-century Silla Steles김선경한국학연구원 · Acta Koreana2018 · 제21권 제2호STONE STATUES AT THE ROYAL TOMB OF KING SŎNGDŎK (聖德王): THE BEGINNING OF ROYAL FUNERARY SCULPTURE IN THE SILLA DYNASTY임영애한국학연구원 · Acta Koreana2017 · 제20권 제2호Buddhist Artwork as Political Symbolism: With a Focus on Buddhist Artwork Created in the 920s in Later Paekche진정환동아시아학술원 · Sungkyun Journal of East Asian Studies2024 · 제24권 제2호7～8세기 신라 미륵상 조상의 역사적 의미박광연이화사학연구소 · 이화사학연구2015 · 제50호Why a Sixteen-foot Buddha? Rethinking the Main Icon of Hwangnyong Temple and Its Materiality김혜원한국학연구원 · Acta Koreana2020 · 제23권 제2호둔황 석굴의 후원자 호탄국[于闐國]왕, 그의 다양한 시각화임영애중앙아시아학회 · 중앙아시아연구2016 · 제21권 제2호

이 간행물의 다른 논문 (6건)

The Earliest Statements of Christian Faith in China? A Critique of the Conventional Chronology of The Messiah Sutra and On One GodJianqiang SUNpp. 133-152Memory and Reproduction: A Study of 1980s Chinese Ethnic Korean Revolutionary Narratives Focusing on Yun Il-san’s The Roaring Mudan RiverMingjie REN, 이해영pp. 179-202Literary Representation of a Proxy-Test Taker: Focusing on “The Tale of Yu Kwangŏk”김유미pp. 203-224How did the Weaker Actor Defeat the Stronger Actor? Koguryŏ’s War with Sui (612−614) RevisitedJinwung KIM, Spencer C. TUCKER, Grace H. KIMpp. 225-244Mishima Yukio’s Modern Noh Play Sotoba Komachi: Nietzsche’s Influence and the Ideal Post-war ArtistJunghee KIMpp. 245-262
원문 보기