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하나의 원류, 다양한 수용: 중국 당대(唐代) 보리서상(菩提瑞像)과 통일신라 석굴암 본존불

One Prime Object, Different Receptions: ‘The Auspicious Image of Bodhgaya’ in Tang China and the Buddha Statue at Seokguram in the Unified Silla

최선아
미술사와 시각문화학회 (Art History and Visual Culture Association)|2013.10|미술사와 시각문화 (Art History and Visual Culture)|제12호|pp. 260-305|DOI 10.22835/ahvc.2013..12.010

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참고문헌

키워드

pilgrimage순례성지(聖地)모사Borobudur현장Xuanzang석굴암copyreplicationSeokguram보로부두르보드가야보리서상(菩提瑞像)대당서역기(大唐西域記)마하보리사Da Tang xiyu ji광원(廣元) 천불애(千佛崖)Mahabodhi TempleBodhgayaputi ruixiangsacred site
주제분류미술

초록

이 글은 인도 보드가야 마하보리사에 있는 항마촉지인 불좌상을 도상적 원류로 삼고 있는 중국과 한국의 두 상을 비교하여 둘 사이의 형태적 차이가 갖는 미술사적, 문화사적 의미를 고찰한다. 강우방, 김리나 등 여러 선학들의 연구에 의해 마하보리사의 성도상과 도상 및 크기가 같다고 알려진 석굴암 본존불과 최근 수정적인 연구를 통해 역시 마하보리사 상을 모사한 것으로 밝혀진 중국의 보리서상(菩提瑞像)은 모두 촉지인을 결한 불좌상으로 그 형식은 같으나 후자의 경우, 목걸이와 보관 등과 같은 장신구를 함께 하고 있어 세부적인 면에서 큰 차이를 보인다. 하나의 원류에서 비롯되었다고 하는 두 상 사이 이와 같은 형태상 차이가 어떤 문화적 배경 하에서 비롯되었는지를 살피며, 도상의 유행 및 전파, 인식과 수용, 복제와 모사, 영향과 주관성 등과 같은 이론적인 문제를 탐구한다.

Abstract

This paper examines how the famous Buddha statue at the Mahabodhi temple in Bodhgaya, India was differently understood and replicated in Tang China and Unified Silla Korea during the late seventh and eighth centuries. Witnessed by the Chinese pilgrim monk Xuanzang (ca. 602-664) in around 635, the image at the Mahabodhi Temple became a famous object since he returned to China in 645. His travelogue, Da Tang xiyu ji (Record of the Western Regions in the Great Tang), served as the main source of information on the image, triggering a number of travelers to Bodhgaya in the following decades. One of the results of such travels was the importation of sketches and replicas of the image to China by pilgrims and travelers on their way back, as recorded in several writings of the late seventh century. Presumably due to such transmissions, we witness an explosive emergence of the Buddha statues in bhumisparsa mudra in China from the late seventh century, most of which were made modeled after the Bodhgaya statue. Furthermore, the same type of Buddha image appeared in Korea at least from the late seventh century, about which many scholars have understood as the impact of Bodhgaya on Silla directly, or indirectly through China. This paper focuses on two of such replications made in China and Korea respectively. The Chinese case is known as the “Auspicious Image of Bodhgaya/Bodhi Tree” by inscription, and the Korean example is located in the well-known stone grotto Seokguram in Gyeongju. Although the two statues have been regarded as close replications of the image at the Mahabodhi temple sharing the distinctive hand gesture (bhumisparsa mudra), a mudra displayed by the Indian image, their details are significantly different: the Chinese example is heavily decorated with various ornaments such as necklace, bracelet, and a crown, all directly carved on the body, whereas the one at Seokguram is without such jewelry. This paper starts with the question of in what ways the two examples, despite its formal disparities, claim their resemblance to the prime object. Investigating different cultural circumstances under which the two statues were created and different focuses with which the two establish special connection to the prime object (ornamentation and size respectively), it delves into theoretical issues including transmission, influence, replication, reception, and subjectivity, issues that have occupied the main stream in the study of Chinese and Korean Buddhist art.

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