티베트불교 문화권의 ‘화목한 네 동물’ 설화와 도상의 확산과 활용 양상
The spread and use of the tales and icons of ‘Four Harmonious Animals’ in Tibetan Buddhist cultural world
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The story and iconography of the ‘Four Harmonious Animals’ are cultural elements that are used as much as Korean Jangseung in Tibetan Buddhist cultural world. This story was passed down as part of the original story(Jātaka). Jātaka seems to have originated from the fact that Buddhist practitioners accepted ancient Indian tales into Buddhism and refined the stories of Buddha and his disciples from their previous lives and various parables. Buddhist literature including ‘Jataka’ and art fields such as various icons and sculptures created a synergistic effect and played an important role in ancient Indian Buddhist culture. ‘Tittira Jātika’ went beyond India’s various historical communities, and through northern India and Central Asia, Indian Buddhism spread to neighboring civilizations. Very energetic Buddhist evangelists and adversaries played a major role in this spread. Ancient Indian Buddhism spread on both the maritime Silk Road and the land Silk Road, and with the establishment and development of the Tubo Empire, Tibet was also a major route of diffusion. ‘Tittira Jātika’ entered Central Asia and Tibet and established itself as a tale and iconography of the ‘four harmonious animals’. In particular, in Tibetan Buddhist cultural world, the icon and tale of the the ‘four harmonious animals’ were established as an independent cultural element of Mthun-pa-spun-bzhi(Tibet) and Tumbaash(Mongol). As Mongolia was included in the Tibetan Buddhist cultural world, the tale and iconography of the ‘Four Harmonious Animals’ spread to the Mongolian historical community. Interestingly, in the early 20th century, the ‘four harmonious animals’ icon was adopted as part of the national symbol along with the movement to establish a modern Buddhist nation-state in Tibet and Mongolia. This means that the cultural element of ‘four harmonious animals’ has begun to be more widely accepted throughout society as it has emerged as a national symbol.
Abstract
The story and iconography of the ‘Four Harmonious Animals’ are cultural elements that are used as much as Korean Jangseung in Tibetan Buddhist cultural world. This story was passed down as part of the original story(Jātaka). Jātaka seems to have originated from the fact that Buddhist practitioners accepted ancient Indian tales into Buddhism and refined the stories of Buddha and his disciples from their previous lives and various parables. Buddhist literature including ‘Jataka’ and art fields such as various icons and sculptures created a synergistic effect and played an important role in ancient Indian Buddhist culture. ‘Tittira Jātika’ went beyond India’s various historical communities, and through northern India and Central Asia, Indian Buddhism spread to neighboring civilizations. Very energetic Buddhist evangelists and adversaries played a major role in this spread. Ancient Indian Buddhism spread on both the maritime Silk Road and the land Silk Road, and with the establishment and development of the Tubo Empire, Tibet was also a major route of diffusion. ‘Tittira Jātika’ entered Central Asia and Tibet and established itself as a tale and iconography of the ‘four harmonious animals’. In particular, in Tibetan Buddhist cultural world, the icon and tale of the the ‘four harmonious animals’ were established as an independent cultural element of Mthun-pa-spun-bzhi(Tibet) and Tumbaash(Mongol). As Mongolia was included in the Tibetan Buddhist cultural world, the tale and iconography of the ‘Four Harmonious Animals’ spread to the Mongolian historical community. Interestingly, in the early 20th century, the ‘four harmonious animals’ icon was adopted as part of the national symbol along with the movement to establish a modern Buddhist nation-state in Tibet and Mongolia. This means that the cultural element of ‘four harmonious animals’ has begun to be more widely accepted throughout society as it has emerged as a national symbol.
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