진용(眞容): 인도 보드가야 항마촉지인 불좌상에 대한 중국 당대(唐代) 불교도들의 인식과 수용
True Visage: Medieval Chinese Reception of the Vajrasana Buddha Statue at Mahabodhi Temple in Bodh Gaya, India
0
조회
0
다운로드
17
인용
0
참고문헌
키워드
초록
This paper examines religious and cultural contexts in which Chinese Buddhists in late seventh century designated the Vajrasana Buddha statue enshrined at Mahabodhi Temple in Bodh Gaya, India as "true visage." Initiated by the observation that the term "true visage," or zhenrong 眞容 was rarely used as a direct designation of religious icons in earlier period, this article tries to investigate following questions: why was the Buddha image in India called such a special name? What did the term, the "true visage" exactly mean? What were the implications of the term, particularly when it was used in relation to a Buddhist image? In order to answer these questions, this paper, first of all, closely reads textual sources relevant to the statue including Xuanzang's Da Tang xiyu ji, Wang Xuance's travelogue quoted in Fayuan zhulin, and Yijng's Da Tang qiufa gaoseng zhuan. This close reading of the pilgrimage records reveals the courses through which the image obtained such a special name in late seventh century. Referring to the statue as true visage was a particular phenomenon closely related to Yijing, whereas Xuanzang and Wang did not name the image with such a special word. As a way of searching for the exact meaning of the term, the second part of this paper turns to an investigation of literary sources of earlier period. In particular, analysis of dedicatory inscriptions of the fifth and sixth centuries where the term frequently appears in the context of explicating the ontological status of religious icons reveals that the word originally denoted now-disappearing, thus invisible form of Buddha. Based on this observation, the next part of this paper discusses what it means to name the statue as true visage, and how such a phenomenon is related the issue of the reception of religious icons. Contrasting different attitudes toward the statue between Xuanzang presented in his biography and other pilgrim monks described in Yijing's record, I suggest that changed reception of the statue―from the one which evokes the sense of absence to the one which represents, thus replaces the absent Buddha―underlay in the phenomenon of naming the statue as the true visage. Lastly, this paper illustrates how an examination of relevant visual materials reveals another intriguing aspect in the reception of the Vajrasana Buddha image in China, when they were illuminated in contrast to textual sources. Reminding of the fact that some of Chinese images made modelled after the Bodh Gaya statue in late seventh century were named as "Miraculous Image of Bodhi Tree" in their inscriptions, I suggest that the materiality of the image was still emphasized in the course of making replications, whereas the original image at the site was gaining an elevated existential status almost identical to its divine prototype. Furthermore, the fact that the statue was received as a miraculous image might present an important clue to the iconographic discrepancies between the original and copied derivatives, an issue which has long intrigued scholars over the past few decades.
Abstract
This paper examines religious and cultural contexts in which Chinese Buddhists in late seventh century designated the Vajrasana Buddha statue enshrined at Mahabodhi Temple in Bodh Gaya, India as "true visage." Initiated by the observation that the term "true visage," or zhenrong 眞容 was rarely used as a direct designation of religious icons in earlier period, this article tries to investigate following questions: why was the Buddha image in India called such a special name? What did the term, the "true visage" exactly mean? What were the implications of the term, particularly when it was used in relation to a Buddhist image? In order to answer these questions, this paper, first of all, closely reads textual sources relevant to the statue including Xuanzang's Da Tang xiyu ji, Wang Xuance's travelogue quoted in Fayuan zhulin, and Yijng's Da Tang qiufa gaoseng zhuan. This close reading of the pilgrimage records reveals the courses through which the image obtained such a special name in late seventh century. Referring to the statue as true visage was a particular phenomenon closely related to Yijing, whereas Xuanzang and Wang did not name the image with such a special word. As a way of searching for the exact meaning of the term, the second part of this paper turns to an investigation of literary sources of earlier period. In particular, analysis of dedicatory inscriptions of the fifth and sixth centuries where the term frequently appears in the context of explicating the ontological status of religious icons reveals that the word originally denoted now-disappearing, thus invisible form of Buddha. Based on this observation, the next part of this paper discusses what it means to name the statue as true visage, and how such a phenomenon is related the issue of the reception of religious icons. Contrasting different attitudes toward the statue between Xuanzang presented in his biography and other pilgrim monks described in Yijing's record, I suggest that changed reception of the statue―from the one which evokes the sense of absence to the one which represents, thus replaces the absent Buddha―underlay in the phenomenon of naming the statue as the true visage. Lastly, this paper illustrates how an examination of relevant visual materials reveals another intriguing aspect in the reception of the Vajrasana Buddha image in China, when they were illuminated in contrast to textual sources. Reminding of the fact that some of Chinese images made modelled after the Bodh Gaya statue in late seventh century were named as "Miraculous Image of Bodhi Tree" in their inscriptions, I suggest that the materiality of the image was still emphasized in the course of making replications, whereas the original image at the site was gaining an elevated existential status almost identical to its divine prototype. Furthermore, the fact that the statue was received as a miraculous image might present an important clue to the iconographic discrepancies between the original and copied derivatives, an issue which has long intrigued scholars over the past few decades.
참고문헌 (74)
- "『開元釋敎錄』T2154", ~
- "『高僧傳』T2059", ~
- "『廣弘明集』T2103", ~
- "『大唐西域求法高僧傳』T2066", ~
- "『大唐西域記』T2087", ~
- "『大唐大慈恩寺三藏法師傳』T2053", ~
- "『法苑珠林』T2122", ~
- "『續高僧傳』T2060", ~
- "『宋高僧傳』T2061", ~
- 강우방, "석불사 본존의 도상소고, in 원융과 조화" (1990), 열화당
- 강희정, "보드가야의 불교유적과 구법승", 미술사와 시각문화, (4), pp.88~127 (2005), 미술사와 시각문화학회
- 강희정, "한국 불교미술 연구의 새로운 모색 -이미지: 도상과 기능의 소통을 위하여", 미술사와 시각문화, (6), pp.134~169 (2007), 미술사와 시각문화학회
- 김리나, "韓國古代佛敎彫刻史硏究", pp.270~290 (1989), 一潮閣
- 김리나, "中國의 降魔觸地印佛坐像, in 韓國古代佛敎彫刻史硏究", pp.291~336 (1989), 一潮閣
- 김리나, "統一新羅 시대의 降魔觸地印佛坐像, in 韓國古代佛敎彫刻史硏究", pp.337~382 (1989), 一潮閣
- 김리나, "玄奬의 인도여행과 統一新羅 불상의 새로운 圖像, in 韓國古代佛敎彫刻 比較硏究", pp.222~240 (2003), 문예출판사
- 김영률, "한글대장경 大唐大慈恩寺三藏法師傳 外" (1997), 동국역경원
- 남동신, "보드가야 마하보리사(大覺寺) 출토 한비(漢碑)", 인도연구, 13(1), pp.233~270 (2008), 한국인도학회
- 남동신, "玄奘의 印度 求法과 玄奘像의 추이 ―西域記, 玄奘傳, 慈恩傳의 비교 검토를 중심으로", 불교학연구, 20, pp.191~242 (2008), 불교학연구회
- 레이위화, "四川菩提瑞像硏究, in 시각문화의 전통과 해석: 靜齋 金理那 敎授 정년퇴임 기념 논총", pp.101~120 (2007), 예경
- 제니스 리아쉬코, "보드가야와 정각(正覺)의 배관(拜觀)", 미술사와 시각문화, (4), pp.166~187 (2005), 미술사와 시각문화학회
- 문명대, "통일신라불상조각과 당불상조각과의 관계, in 統一新羅 美術의 對外交涉", pp.37~84 (2001), 예경
- 裵珍達, "龍門石窟 旺鼓臺 南洞 연구", 미술사연구, 16(16), pp.459~476 (2002), 미술사연구회
- 송성수, "한글대장경 開元釋敎錄" (2000), 동국역경원
- 신준형, "한스 벨팅의 종교미술 연구: 도상에서 기능으로", 미술사와 시각문화, (6), pp.92~109 (2007), 미술사와 시각문화학회
- 이미령, "한글대장경 大唐西域記 外" (1999), 동국역경원
- 이용범, "한글대장경 大唐西域求法高僧傳 外" (1980), 동국역경원
- 이재창, "한글대장경 高僧傳 外" (1998), 동국역경원
- 이주형, "‘眞身’에 관하여", 인문논총, 45, pp.227~261 (2001)
- 이주형, "한국 고대 불교미술의 ‘像’ 에 대한 意識과 경험", 미술사와시각문화, 1, pp.8~39 (2002)
- 이주형, "보드가야 항마성도상의 前史─불전미술의 <降魔> 敍事와 촉지인 불상의 탄생, in 시각문화의 전통과 해석: 靜齋 金理那 敎授 정년퇴임 기념 논총", pp.53~82 (2007), 예경
- 이주형, "동아시아 구법승과 인도의 불교유적─인도로 떠난 순례자들의 발자취를 따라" (2009), 사회평론
- 이한정, "한글대장경 廣弘明集 권2" (2001), 동국역경원
- 최선아, "동아시아 7-8세기 轉法輪印 阿彌陀佛坐像 연구-안압지 출토 금동삼존판불의 도상적 원류와 관련하여", 미술사학연구, (244), pp.33~63 (2004), 한국미술사학회
- 최철환, "대당서역구법고승전, in 大唐內典錄 外" (2000), 동국역경원
- 히다로미, "玄奬이 가져온 7軀의 佛像에 관하여, in 시각문화의 전통과 해석: 靜齋 金理那 敎授 정년퇴임 기념 논총", pp.83~99 (2007), 예경
- 金申, "中國歷代紀年佛像圖典" (1994), 文物出版社
- 雷玉華, "試論四川的“菩提瑞像", 四川文物, 1, pp.85~91 (2004)
- 雷玉華, "再論四川的菩提瑞像", 故宮博物院院刊, 6, pp.142~161 (2005)
- 大村西崖, "支那美術史彫塑編" (1915), 佛書刊行會
- 肥田路美, "唐代における佛陀伽耶金剛座眞容像の流行, in 論叢佛敎美術史", pp.157~186 (1986), 吉川弘文館
- 肥田路美, "唐代菩提伽耶金剛座眞容像的流布", 敦煌硏究, 4, pp.32~41 (2006)
- 水野淸一, "雲岡石窟" (1951), 京都大學人文科學硏究所
- 李玉珉, "四川菩提瑞像窟龕硏究", 2005年重慶大足石刻國際學術硏討會論文集, pp.548~561 (2008), 文物出版社
- 李裕群, "天龍山石窟" (2003), 科學出版社
- 侯旭東, "五, 六世紀北方民衆佛敎信仰: 以造像記爲中心的考察" (1998), 中國社會科學出版社
- "『世界美術大全集』東洋編14 インド(2)" (1999), 小學館
- "『中國石窟彫塑全集』8, 四川·重慶" (2000), 重慶出版社
- Barrett, T. H., "Exploratory Observatios on Some Weeping Pilgrims", Buddhist Studies Forum, 통권 : 1, pp.99~110 (1990)
- Belting, Hans, "Likeness and Presence: A History of the Image before the Era of Art" (1994), The University of Chicago
- Brown, Robert L., "Miracles: The Unsurprisingly Miraculous Nature of Buddhist Images and Relics, in Images, Miracles, and Authority in Asian Religious Traditions", pp.23~36 (1998), Westview Press
- Brown, Robert L., "The Miraculous Buddha Image: Portrait, God, or Object?, in Images, Miracles, and Authority in Asian Religious Traditions", pp.37~54 (1998), Westview Press
- The Mystery of the Udayana Buddha, "Carter, Martha L.", Istituto Universitario Orientale, ~ (1990)
- Campany, Robert F., "The Real Presence", History of Religions, 32(3), pp.233~272 (1993)
- Davis, Richard, "The Lives of Indian Images" (1997), Princeton University Press
- Dudbridge, Glen, "Buddhist Images in Action: Five Stories from the Tang", Cahiers d’Extreme-Asie, 10, pp.377~391 (1998)
- Eckel, Malcolm D., "To See the Buddha: A Philosopher’s Quest for the Meaning of Emptiness" (1994), Princeton University Press
- Elsner, Jas, "Introduction:‘ If You Need an Actual Statue…’", Art History, 29(2), pp.201~212
- Freedberg, David, "The Power of Images: Studies in the History and Theory of Response" (1989), The University of Chicago Press
- Faure, Bernard, "The Buddhist Icon and the Modern Gaze", Critical Inquiry, 24(3), pp.768~769 (1998)
- Foulk, Griffith, "On the Ritual Use of Ch’an Portraiture in Medieval China", Cahiers d’Extreme-Asie, 7, pp.149~219 (1993)
- Gell, Alfred, "Art and Agency: An Anthropological Theory" (1998), Oxford University Press
- Howard, Angela F., "Tang Buddhist Sculpture of Sichuan: Unknown and Forgotten", The Museum of Far Eastern Antiquities, Stocklolm, (60), pp.1~164 (1988)
- Howard, Angela F., "Buddhist Sculpture of Pujiang, Sichuan: A Mirror of the Direct Link Between Southwest China and India in High Tang", Archives of Asian Art, 42, pp.49~61 (1998)
- Kim, Sunkyung, "Decline of the Law, Death of the Monk: Buddhist Texts and Images in the Anyang Caves of Late Sixth Century China", 박사, pp.2005
- The Cult of Images in the Age before Iconoclasm, "Kitzinger, Earnest", 83~105, pp.Dumbarton Oaks Papers 8 (2005)
- Leoshko, Janice, "The Vajrasana Buddha, in Bodhgaya: The Site of Enlightenment", pp.30~40 (1988), Marg Publications
- Leoshko, Janice, "Pilgrimage and the Evidence of Bodhgaya’s Image, in Function and Meaning in Buddhist Art", pp.45~58 (1995), Egbert Forsten
- Mitchell, T. J. W., "What Do Pictures Want?: The Lives and Loves of Images" (2005), University of Chicago Press
- Platt, Verity, "Epiphany and Represenation in Graeco-Roman Culture: Art, Literature, Religion", 박사, pp.2003
- Sharf, Robert H., "Prolegomenon to the Study of Japanese Buddhist Icons, in Living Images: Japanese Buddhist Icons in Context", pp.1~18 (2001), Stanford University Press
- Sørensen, Henrik H., "The Buddhist Sculptures at Feixian Pavilion in Pujiang, Sichuan", Artibus Asiae, 58(1), pp.33~67 (1998)
- Wang, Eugene W., "of the True Body: The Famen Monastery Relics and Corporeal Transformation in Tang Imperial Cuture, in Body and Face in Chinese Vishal Culture", pp.79~108 (2005), Harvard Univerity Press
- Wu Hung, "Rethinking Liu Sahe: The Creation of a Buddhist Saint and the Invention of a‘Miraculous Image", Orientations, 29(6), pp.32~43 (1996)