딴뜨라 불교 순례에 대한 한 해석__13세기 티벳 승려 착 로짜와 최제뻴(Chag Lo tsā ba Chos rje dpal. 1197∼1264)의 인도 순례를 중심으로__
An Interpretation of Tantric Buddhist Pilgrimage Based on the Pilgrimage to India of the 13th Century Tibetan Buddhist Monk Chag Lo tsā ba Chos rje dpal (1197~1264)
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『착 로짜와 최제뻴의 전기(傳記): [나의] 스승(lama)의 티 없는 말씀들(이하 『전기』)』은 13세기 티벳 딴뜨라 불교 승려 착 로짜와 최제뻴(이하 착 로)의 네팔과, 인도 불교 유적지 순례 과정 중의 학문 연구와 수행 기록을 담고 있다. 그가 딴뜨라 승려였던 만큼, 『전기』에는 딴뜨라 불교 관련 대상들에 대한 관심이 순례 내내 반영되어 있고, 순례와 순례지의 종교적 의미 역시 딴뜨라 불교의 이론적 배경에 의해 구성되어 있다. 즉, 순례의 공간이 단순히 외재적인 역사적 붓다인 화신(化身, nirmāṇakāya)의 공간으로서뿐만 아니라, 초월적이고 편재하는 법신(法身, dharmakāya)의 공간으로 존재하며, 그로 인해 순례의 대상 역시 삼신(三身, trikāya)으로 확장된다. 화신으로 보이는 순례 대상은 법신의 현현이며, 경관(landscape)이라는 텍스트로 이해할 수 있는 화신의 공간은 삼신들의 관계 내에서 문학적 내러티브가 작동하는 붓다의 공간이 된다. 경관은 불교 경전(canon)과의 상호 순환적인 관계 규정에 의해 작동한다. 또한, 실천적인 의미에서 순례의 공간은 법신상주(法身常住)의 실재를 증득하는 공간으로서, 그런 의미에서 딴뜨라 불교의 실천적 의미에서의 보신(報身, saṃbhogakāya)의 의미가 강조된다. 즉, 『전기』에서, 삼신과 삼신의 시공간은 순례라는 맥락에서 순례 대상과 공간의 확장에 기초하고 있다. 이런 측면은 순례의 종교적 의미와 직결되는 이슈들이라 할 수 있다. 고(苦)로 가득찬 현세와 궁극적 실재 간의 불이적(不二的) 관계가 딴뜨라 불교 순례라는 방식으로 설립되어질 수 있고, 순례가 딴뜨라 불교 실천에 있어서의 궁극적인 층으로서의 의미를 가지는 것이다. 그 점이 『전기』에 묘사된 착 로의 순례를 읽는 핵심적인 요소라 할 수 있다.
Abstract
Biography of Chag lo tsā ba: The Immaculate Speech of [My] Teacher (Chag lo tsā ba chos rje dpal gyi rnam thar bla ma'i gsung dri ma med pa. henceforth Biography) contains the 13th century Tibetan tantric, Chag lo tsā ba's (henceforth Chag lo) oral statements of his pilgrimage to Nepal and the sites of the historical Buddha and Buddhism in India, as well as his learning and meditation during the pilgrimage. As a tantric practitioner, his concern for tantric objects is manifest throughout Biography, and thereby the religious implication of the pilgrimage and the pilgrim sites are also established upon tantric buddhist concepts and theories. Pilgrim sites are understood as the spaces of the three bodies (trikāya). They are not only the space of the emanation body (nirmāṇakāya), but also the space pervaded by the dharma body (dharmakāya). All landscape (including pilgrim sites) is established by mutual circular relation to tantric Buddhist canons and is also the space where the enlightenment of reality is reified, necessitating the presence of the body of communal enjoyment (saṃbhogakāya). Objects of pilgrimage are also based upon the three bodies. The magical manifestation of the dharmakāya, i.e. objects of pilgrimage, is understood to be landscape and therefore text, replete with the narratives related to the three bodies. Taken together, in Biography, the three bodies and their spaces are redefined in the context of pilgrimage, as by extension, both the objects and spaces of pilgrimage have a connection to enlightenment. That aspect is inextricably tied to the religious meaning of pilgrimage: one essential element on reading about Chag lo's pilgrimage in Biography, is that a non-dual relationship between this life and ultimate reality can be established by pilgrimage, and that pilgrimage is significant as the ultimate level of buddhist practice. Also, in a similar vein, the canonicity that Biography has is understood: records of pilgrimage are commentaries to landscapes reciprocally defined by tantric canons. In a sense, the vagueness of the distinction between these two, landscape and canon, works as a mechanism to make records of pilgrimage none other than tantric canons. In other words, a pilgrimage record may be a tantric canon on its own.
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