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This essay explores the architectural depictions in the Western Paradise scenes preserved in the murals of the Mogao Caves in Dunhuang. While architectural historians has long noticed and discussed the impressive representation of architecture in various Pure Land scenes, it was not a main issue among the scholars in the field of Buddhist art and iconography. In order to understand the Buddhist context of the motif that has been largely neglected, the present discussion focuses on its depictions in the Western Paradise scenes, which was the most popular Pure Land theme with grandiose architectural background among the Dunhuang murals.
The first part of the essay outlines the main features of the Western Paradise scenes including the textual sources, types, and architectural depictions during the Early Tang (618-712) and the High Tang (712-781). The second part discusses the relation between the architectural depiction in the Western Paradise scenes and the actual architecture presumed to have existed in contemporary monasteries and palaces. As mentioned in previous scholarship, the actual architecture served as an important source for the representation of the architecture in the fictitious world of the Western Paradise. However, it is argued that when comparing the reconstruction of the monastery and the palace buildings based on the historical texts and archaeological excavations with the architectural background in the Western Paradise murals, it is unlikely the buildings represented in the murals were exact reproduction of the actual architecture. Rather, they were fabricated images formulated by means of combining various architectural elements and building types in order to create the ideal space of the Western Paradise.
The third part looks into the relation between the Pure Land Sutras and the architectural elements in the Western Paradise scenes. The examination of the sutras reveals that the section referred to “Contemplation of the Jeweled Pavilion”in the Guan wuliangshou jing 觀無量壽經(Sutra on the Contemplation of the Buddha of Measureless Life, hereafter “Contemplation Sutra”) is distinguished from many other relevant phrases that simply mention building types such as lecture hall, pavilion, and monastery in that it gives a rather long explanation and is related to the practice of contemplating on the Western Paradise. Its significance in the visualization of the architectural space in the murals is evinced by the fact that the pavilion is the major building type when the architectural setting begins to appear in the Western Paradise scenes.
Based on this observation, a new problem is proposed in the last part of the essay. It discusses the way in which the Western Paradise scenes in the Mogao Caves have been identified in relation to the Contemplation Sutra and the other two Pure Land Sutra of Wuliangshou jing 無量壽經(The Longer Sutra) and Amituo jing 阿彌陀經(The Shorter Sutra). If the Contemplation Sutra was an important sutra in the visualization of the Western Paradise in the forms of relief sculptures and paintings, as argued by this article and also other scholars in different contexts, the popular distinction between the “Contemplation Sutra Illustration”and the Western Paradise scenes with no relevance to the Contemplation Sutra appears misleading and incorrect. In this sense, it seems that a more comprehensive discussion on this problem should be made in the future.
The first part of the essay outlines the main features of the Western Paradise scenes including the textual sources, types, and architectural depictions during the Early Tang (618-712) and the High Tang (712-781). The second part discusses the relation between the architectural depiction in the Western Paradise scenes and the actual architecture presumed to have existed in contemporary monasteries and palaces. As mentioned in previous scholarship, the actual architecture served as an important source for the representation of the architecture in the fictitious world of the Western Paradise. However, it is argued that when comparing the reconstruction of the monastery and the palace buildings based on the historical texts and archaeological excavations with the architectural background in the Western Paradise murals, it is unlikely the buildings represented in the murals were exact reproduction of the actual architecture. Rather, they were fabricated images formulated by means of combining various architectural elements and building types in order to create the ideal space of the Western Paradise.
The third part looks into the relation between the Pure Land Sutras and the architectural elements in the Western Paradise scenes. The examination of the sutras reveals that the section referred to “Contemplation of the Jeweled Pavilion”in the Guan wuliangshou jing 觀無量壽經(Sutra on the Contemplation of the Buddha of Measureless Life, hereafter “Contemplation Sutra”) is distinguished from many other relevant phrases that simply mention building types such as lecture hall, pavilion, and monastery in that it gives a rather long explanation and is related to the practice of contemplating on the Western Paradise. Its significance in the visualization of the architectural space in the murals is evinced by the fact that the pavilion is the major building type when the architectural setting begins to appear in the Western Paradise scenes.
Based on this observation, a new problem is proposed in the last part of the essay. It discusses the way in which the Western Paradise scenes in the Mogao Caves have been identified in relation to the Contemplation Sutra and the other two Pure Land Sutra of Wuliangshou jing 無量壽經(The Longer Sutra) and Amituo jing 阿彌陀經(The Shorter Sutra). If the Contemplation Sutra was an important sutra in the visualization of the Western Paradise in the forms of relief sculptures and paintings, as argued by this article and also other scholars in different contexts, the popular distinction between the “Contemplation Sutra Illustration”and the Western Paradise scenes with no relevance to the Contemplation Sutra appears misleading and incorrect. In this sense, it seems that a more comprehensive discussion on this problem should be made in the future.
목차
Ⅰ. 머리말
Ⅱ. 돈황 막고굴 〈서방정토변〉과 건축 표현
Ⅲ. 정토변의 건축 표현 vs. 실제 건축물
Ⅳ. 경전에 보이는 건축 관련 내용
Ⅴ. 새로운 문제: 〈서방정토변〉의 유형 분류
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