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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Reliefs on stupas depicting Buddha"s present life from his birth to pari-nirvana are overwhelming in the number of their objects and the variety of scenes depicted.It has not been possible to determine the sequence of the scenes based on the surviving fragmentary evidence. However several studies have suggested an overall order based on the partial remains of scenes in various stupas. The interesting finding of those studies is that the first scene of the reliefs depicts the scene of Dipankara Jataka, which comes from a story of Buddha"s previous, not his present life.
This research examines the reliefs of Dipankara Jataka from Ancient India, including Afghanistan and Gandhara regions. The study focuses on three areas: their role as the first set of the reliefs in a stupa; the description in the sutra that the relief depicts, and the style, composition and artistic expression of the scene. Findings of the study can be summarized into five points.
The first pointis the role of images of Dipankara Jataka, which bridges his previous and present lives. The second point is that the reliefs are selected from four scenes from a sutra: to buy a flower to offer the flower to a Buddha who passes a village to lay her hair on the muddy ground so that the Buddha avoids stepping his feet on the mud to resolve to become a Buddha in later life. The third point is that the size of Dipankara Buddha on thereliefs is bigger than other figures, which provide an idea why Dipankara Buddha became popular figure of a standing sculpture in the later period. The fourth one is that Dipankara Jataka became a necessary part of scenes from Buddha"s present life in the later period, and the scene in some cases was placed next to a scene of King Asoka offering soils as a pair. The fifth point is that Dipankara Buddha in the region of Hadda and Shotorak of Afghanistan has a motif of flames on his shoulders. This became a distinctive expression in Afghanistan which did not appear in the reliefs in Gandhara.
This research examines the reliefs of Dipankara Jataka from Ancient India, including Afghanistan and Gandhara regions. The study focuses on three areas: their role as the first set of the reliefs in a stupa; the description in the sutra that the relief depicts, and the style, composition and artistic expression of the scene. Findings of the study can be summarized into five points.
The first pointis the role of images of Dipankara Jataka, which bridges his previous and present lives. The second point is that the reliefs are selected from four scenes from a sutra: to buy a flower to offer the flower to a Buddha who passes a village to lay her hair on the muddy ground so that the Buddha avoids stepping his feet on the mud to resolve to become a Buddha in later life. The third point is that the size of Dipankara Buddha on thereliefs is bigger than other figures, which provide an idea why Dipankara Buddha became popular figure of a standing sculpture in the later period. The fourth one is that Dipankara Jataka became a necessary part of scenes from Buddha"s present life in the later period, and the scene in some cases was placed next to a scene of King Asoka offering soils as a pair. The fifth point is that Dipankara Buddha in the region of Hadda and Shotorak of Afghanistan has a motif of flames on his shoulders. This became a distinctive expression in Afghanistan which did not appear in the reliefs in Gandhara.
목차
1. 머리말
2. ‘연등불수기’ 본생에 관한 경전상의 기술
3. ‘연등불수기’ 본생을 주제로 한 작품
4. 인도 ‘연등불수기’ 본생도의 미술사적 의의
5. 맺음말
참고문헌
Abstract
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