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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Records on the gyeju(?珠) occur diversely in the Buddhist traditions. But, as there were no clear phrases to tell us about its position and use, it has been difficult to comprehend the whole aspect of the gyeju.
Up to now, the understanding on the gyeju in Korea was that "gyeju=the middle marble of the gyeneu (?紐)." But, as the gyeju=related comments arc mentioned as "gyejung-ju(?中珠)", "jungsang-ju"(頂上珠), such an interpretation seems inadequate. Because of this, the author tried to find out new approach to the gyeju on the basis of its ideal aspect.
The gyeju can be understood in two layers: the spatial aspect that ‘it is stored in the sangtu(topknot)’ and the meaningful aspect that ‘it symbolizes the uppermost’. These two have been transmitted while continuously mentioned in the related traditions.
In Chapter II, the author made the basic arrangement on the related traditions and tried the comprehensive derivation through 〈the Parable Sutra(?喩經)〉. It is the most important aspect which gives the background for the understanding of the gyeju.
Chapter III deals with the procedure to receive the gyeja during the generation of the Buddhist image and the Indian cultural background in which the symbol of the gyujs was secured. It is an approach to the original viewpoint on the gyeju and the probability to apply the gyeju to the Buddhist image. Through this, we can find out the fact that the symbol of the gyeju has continuously influenced on the birth of Buddhist image and the Mahayana Buddhism as the stay-home discipline.
Finally, in Chapter IV which represents the materialistic for the local coherence of Chapters II and Ⅲ, the records of 〈the Beopwonjurim(法苑珠林)〉 and the aspect of the series storage which early Chinese Buddhist images had are suggested And it is also explained that the storage of the sarira in the head hnmp(肉?) of the Buddhist image ran be understood in connection with the gyeja culture.
The cultural tradition of the gyeju had suffered a little modification. But, being transmitted as an latent influence, it finally re-appeared as the middle gyeju and the top gyeju. And it is also told that the main cause of this re-appearance was the Esoteric Buddhism.
The gyeju has a very important aspect in understanding the Buddhist paintings and images. Therefore, the acquisition of the clear recognition on the gyeju can he reckoned as an indispensable task in the whole aspect of Buddhist iconography.
Up to now, the understanding on the gyeju in Korea was that "gyeju=the middle marble of the gyeneu (?紐)." But, as the gyeju=related comments arc mentioned as "gyejung-ju(?中珠)", "jungsang-ju"(頂上珠), such an interpretation seems inadequate. Because of this, the author tried to find out new approach to the gyeju on the basis of its ideal aspect.
The gyeju can be understood in two layers: the spatial aspect that ‘it is stored in the sangtu(topknot)’ and the meaningful aspect that ‘it symbolizes the uppermost’. These two have been transmitted while continuously mentioned in the related traditions.
In Chapter II, the author made the basic arrangement on the related traditions and tried the comprehensive derivation through 〈the Parable Sutra(?喩經)〉. It is the most important aspect which gives the background for the understanding of the gyeju.
Chapter III deals with the procedure to receive the gyeja during the generation of the Buddhist image and the Indian cultural background in which the symbol of the gyujs was secured. It is an approach to the original viewpoint on the gyeju and the probability to apply the gyeju to the Buddhist image. Through this, we can find out the fact that the symbol of the gyeju has continuously influenced on the birth of Buddhist image and the Mahayana Buddhism as the stay-home discipline.
Finally, in Chapter IV which represents the materialistic for the local coherence of Chapters II and Ⅲ, the records of 〈the Beopwonjurim(法苑珠林)〉 and the aspect of the series storage which early Chinese Buddhist images had are suggested And it is also explained that the storage of the sarira in the head hnmp(肉?) of the Buddhist image ran be understood in connection with the gyeja culture.
The cultural tradition of the gyeju had suffered a little modification. But, being transmitted as an latent influence, it finally re-appeared as the middle gyeju and the top gyeju. And it is also told that the main cause of this re-appearance was the Esoteric Buddhism.
The gyeju has a very important aspect in understanding the Buddhist paintings and images. Therefore, the acquisition of the clear recognition on the gyeju can he reckoned as an indispensable task in the whole aspect of Buddhist iconography.
목차
Ⅰ. 序論
Ⅱ. 계주의 상징과 실체
Ⅲ. 인도의 명상문화와 대승불교
Ⅳ. 불상과 관련된 기록과 계주
Ⅴ. 結論
참고문헌
Abstract
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