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This paper is a case study under a broader theme of the visual culture of sixth-century Chinese Buddhism. focusing on the Shuiyusi West Cave at Handan in Henan. It was initiated, constructed, and used by the members of a Buddhist devotional society during the Northern Qi dynasty, and its donor images and accompanying cartouches provide valuable information on the devotional society's secular and monastic leaders. Two monastic images in particular, carved on the interior walls to either side of the entrance and identified as "Controller-in-Chief, Meditation Master Ding" and "Sengcan:' indicate that celebrated monks of the highest status participated in this construction project. The patronage by influential local elites, on the other hand, is highlighted by images of secular donors and dedicatory inscriptions. Particularly striking in this regard are those of the husband and wife, Lu Jingsong and Zhang Yuanfei, who appear not only at the Shuiyusi West Cave. but also at a cave nearby, where an inscription indicates that it was a burial cave dedicated by wife to husband, offering insight into the larger issue of mortuary practice and Buddhist culture.
Shuiyusi West Cave clearly shows structural. iconographical. and stylistic affinity to the Xiangtangshan Caves, those representative monuments of the Northern Qi. Examples of this affinity include the stupa-shaped facade, and the engraving on the sides of the central pillar of the Three Buddhas-??kyarnuni (or vairocana). Amit?bha, and Maitreya-and the Spirit Kings. The image group on the north wall, however, speaks to a different prototype; it appears to conflate the D?pa?kara j?taka and Boy A?oka’s Offering Mud. Identified by an adjacent inscription as D?pa?kara and (the) three boys", the image shows a standing Buddha accepting offerings from a prominent boy accompanied by two additional boys. This image differs significantly from the conventional representation of the D?pa?kara j?taka, where the youth offers hair for the Buddha to walk on, but is also rather reminiscent of Boy A?oka’s Offering Mud. This study attempts to tease apart the specifics of such intertwined iconographies by analyzing comparable images at the earlier Yungang Caves, contemporaneous Buddhist stelae, and textual records.
The images from Shuiyusi-the monastic and secular leaders of the devotional society and the scene of D?pa?kara j?taka-suggest an intimate creative interaction with Buddhist stelae of the region, another major venue for visual representation. This paper analyzes how the dedicators and makers of the Shuiyusi Cave successfully created a "room of their own" in terms of belief and visual imagination while adopting the prominent visual vocabularies of sixth-century Northern China as seen in Buddhist stelae.
Shuiyusi West Cave clearly shows structural. iconographical. and stylistic affinity to the Xiangtangshan Caves, those representative monuments of the Northern Qi. Examples of this affinity include the stupa-shaped facade, and the engraving on the sides of the central pillar of the Three Buddhas-??kyarnuni (or vairocana). Amit?bha, and Maitreya-and the Spirit Kings. The image group on the north wall, however, speaks to a different prototype; it appears to conflate the D?pa?kara j?taka and Boy A?oka’s Offering Mud. Identified by an adjacent inscription as D?pa?kara and (the) three boys", the image shows a standing Buddha accepting offerings from a prominent boy accompanied by two additional boys. This image differs significantly from the conventional representation of the D?pa?kara j?taka, where the youth offers hair for the Buddha to walk on, but is also rather reminiscent of Boy A?oka’s Offering Mud. This study attempts to tease apart the specifics of such intertwined iconographies by analyzing comparable images at the earlier Yungang Caves, contemporaneous Buddhist stelae, and textual records.
The images from Shuiyusi-the monastic and secular leaders of the devotional society and the scene of D?pa?kara j?taka-suggest an intimate creative interaction with Buddhist stelae of the region, another major venue for visual representation. This paper analyzes how the dedicators and makers of the Shuiyusi Cave successfully created a "room of their own" in terms of belief and visual imagination while adopting the prominent visual vocabularies of sixth-century Northern China as seen in Buddhist stelae.
목차
Ⅰ. 머리말
Ⅱ. 개착연대와 관련 인물
Ⅲ. 석굴의 구조와 도상
Ⅳ. 맺음말
참고문헌
ABSTRACT
참고문헌 (45)
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