둔황 막고굴 제220굴〈서방정토변>의 해석에 대한 재검토
On the Problems of the Scriptural Sources of the Western Paradise bianxiang in Dunhuang Mogao Cave 220
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근래의 돈황 변상(變相)에 대한 연구에서 각광을 받아온 경전 외적인 요소에 대한 관심에서 눈을 돌려 그림과 경전의 복잡한 관계에 새롭게 주목한 글이다. 연구 대상은 7세기 중엽에 제작된 둔황 막고굴(莫高窟) 제220굴의 <서방정토변(西方淨土變)>과 이에 대한 기존 연구이다. 우선 특정 경전과의 연관성을 부각시킨 기존의 ‘아미타경변(阿彌陀經變)’, ‘무량수경변(無量壽經變)’, ‘관경변(觀經變)’과 같은 용어가 지닌 문제점을 서방정토 신앙을 설하는 경전과 당대(唐代, 618-907)의 관련 기록과의 연관 속에서 논한다. 또한 일본 학계에서 특히 주목한 서방정토의 표현에서의『관무량수경(觀無量壽經)』의 역할을 검토하고, 이러한 경향이 후대 일본에서 창안된 중국 ‘정토종(淨土宗)’에 대한 인식과 당마만다라(當麻曼茶羅)의 대두의 영향 속에서 시대착오적으로 적용되었을 가능성에 대해 논한다.
Abstract
This paper explores the complex relationship between the Buddhist sutras and the bianxiang (transformation tableaux) in Dunhuang Mogao Caves by means of examining previous scholarship on the Western Paradise bianxiang in Mogao Cave 220 dated as 642. While a great emphasis has been put on various non-textual factors such as social, political, ritual aspects in recent scholarship to extend our understanding of the logic behind the Dunhuang bianxiang, this paper purposes to draw a new attention on some overlooked problems in discursive practices regarding the textual sources of bianxiang. The first part of the paper examines different textual references given in previous discussions to explain the Western Paradise bianxiang in Cave 220, and also its various designations such as Amituofojingbian (bian of the Shorter Sukhavativyuha Sutra), Wulianshoujingbian (bian of the Longer Sukhavativyuha Sutra), and Guan Wulianshoujingbian (bian of the Contemplation Sutra), each of which singles out a certain sutra among the so-called Pure Land Sutras as the major source of the painting. These terms are discussed in relation to the perception of such paintings during the Tang found in Lidai minghua ji (Records of Famous Paintings in Successive Dynasties), Sita ji (Records of Temples and Pagodas), and Quan Tang wen (Complete Collection of the Tang Prose). The contemporary writings show that this type of paintings was regarded largely as paintings of Amitabha’s Western Paradise and that no particular association was made between the painting and a certain sutra. In this sense, it seems reasonable to say that it is misleading to regard a single sutra as the main textual source. The second part deals with the particular emphasis on the role of the Guan Wuliangshou jing (Contemplation Sutra) in creation of the Western Paradise bianxiang. This is found mostly in the writings of Japanese scholars since Matsumoto Eiichi’s influential study of Dunhuang paintings in the 1930s. Considering that there remains no evidence for the recognition of the Western Paradise in relation with Guan Wuliangshoujing during the Tang, and that Taima Mandala was often referred to as a pictorial template in analysis of the contents and compositions of the Tang examples, it is highly possible that the term such as Guang Wuliangshoujingbian is subject to an anachronistic view derived from the new recognition of Taima Mandala after the establishment of Pure Land Buddhism in Japan.
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