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초록· 키워드
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This study uses documentary records and extant works of arts to explore the Korean adoption, worship and representation of Thousand-armed Avalokiteśvara, previously popular in China.
In China, depictions of Thousand-armed Avalokiteśvara generally portray 40 of the bodhisattva’s “large hands”(holding objects or in mudrās), while showing great diversity in other ways such as incorporating doctrines of Buddhism and differing in terms of order and layout. Avalokiteśvara’s retinue is generally depicted the Twenty-eight Devas stated in the Thousand Eyes and Hands Sūtra, with Vasu and Lakmī attending to each side of the bodhisattva. Meanwhile, a hungry ghost and a poor man are characteristic iconographies that do not appear in Buddhist scripture and were invented in China; these are thought to represent desires in this world and the next. It is revealed that Thousand-armed Avalokiteśvara was particularly worshipped in China for the benefit of the deceased in the afterlife and for the safety of the country.
Written records from the Goryeo period tell us that worship of Thousand-armed Avalokiteśvara for the deceased and the country took place in Korea as well as in China. However, both documents and iconography in Thousand-armed Avalokiteśvara paintings reveal that Thousand-armed Avalokiteśvara was regarded as the same as the conventional Avalokiteśvara described in the Avalokiteśvara Sūtra(a chapter of the Lotus Sūtra). The writings of Goryeo scholar and poet Lee Gyu-bo offer a key illustration of the understanding of Thousand-armed Avalokiteśvara during this period, relating how Avalokiteśvara paintings, rather than Thousand-armed Avalokiteśvara statues, were used in rituals praying for the protection of the country. Moreover, Goryeo and early-Joseon Thousand-armed Avalokiteśvara paintings feature images of the boy Sudhana, the retinue of Water-moon Avalokiteśvara, against a natural background, instead of the retinue associated with Thousand-armed Avalokiteśvara in China; this, too, is an expression of the different Korean understanding of the bodhisattva.
Late-Joseon Thousand-armed Avalokiteśvara paintings use even more pronounced depictions of natural background motifs such as flowing clouds, waves, bamboo and birds, while featuring images of the Dragon King opposite Sudhana, creating compositions similar to those of Water-moon Avalokiteśvara paintings. This serves as further confirmation that Thousand-armed Avalokiteśvara was regarded and depicted in Korea as the bodhisattva of the Avalokiteśvara Sūtra. However, the notable tendency to use the term “Forty-two Hands Avalokiteśvara” and emphasize forty-two “large hands” can be seen as influenced by the introduction and continuous dissemination of the Forty-two Hands Mantra, which appeared later on in China.
In conclusion, Koreans regarded Thousand-armed Avalokiteśvara as the same Avalokiteśvara that appears in the Chapter of the Universal Gate of the Lotus Sūtra. Recitation of the Great Compassion Dhāraī spoken by Avalokiteśvara became more popular than faith in Thousand-armed Avalokiteśvara, and pictorial representations of the deity gave visual form to the dignity and power of the thousand arms through Thousand-armed or Forty-two Hands Avalokiteśvara within compositions conventionally associated with Water-moon Avalokiteśvara.
In China, depictions of Thousand-armed Avalokiteśvara generally portray 40 of the bodhisattva’s “large hands”(holding objects or in mudrās), while showing great diversity in other ways such as incorporating doctrines of Buddhism and differing in terms of order and layout. Avalokiteśvara’s retinue is generally depicted the Twenty-eight Devas stated in the Thousand Eyes and Hands Sūtra, with Vasu and Lakmī attending to each side of the bodhisattva. Meanwhile, a hungry ghost and a poor man are characteristic iconographies that do not appear in Buddhist scripture and were invented in China; these are thought to represent desires in this world and the next. It is revealed that Thousand-armed Avalokiteśvara was particularly worshipped in China for the benefit of the deceased in the afterlife and for the safety of the country.
Written records from the Goryeo period tell us that worship of Thousand-armed Avalokiteśvara for the deceased and the country took place in Korea as well as in China. However, both documents and iconography in Thousand-armed Avalokiteśvara paintings reveal that Thousand-armed Avalokiteśvara was regarded as the same as the conventional Avalokiteśvara described in the Avalokiteśvara Sūtra(a chapter of the Lotus Sūtra). The writings of Goryeo scholar and poet Lee Gyu-bo offer a key illustration of the understanding of Thousand-armed Avalokiteśvara during this period, relating how Avalokiteśvara paintings, rather than Thousand-armed Avalokiteśvara statues, were used in rituals praying for the protection of the country. Moreover, Goryeo and early-Joseon Thousand-armed Avalokiteśvara paintings feature images of the boy Sudhana, the retinue of Water-moon Avalokiteśvara, against a natural background, instead of the retinue associated with Thousand-armed Avalokiteśvara in China; this, too, is an expression of the different Korean understanding of the bodhisattva.
Late-Joseon Thousand-armed Avalokiteśvara paintings use even more pronounced depictions of natural background motifs such as flowing clouds, waves, bamboo and birds, while featuring images of the Dragon King opposite Sudhana, creating compositions similar to those of Water-moon Avalokiteśvara paintings. This serves as further confirmation that Thousand-armed Avalokiteśvara was regarded and depicted in Korea as the bodhisattva of the Avalokiteśvara Sūtra. However, the notable tendency to use the term “Forty-two Hands Avalokiteśvara” and emphasize forty-two “large hands” can be seen as influenced by the introduction and continuous dissemination of the Forty-two Hands Mantra, which appeared later on in China.
In conclusion, Koreans regarded Thousand-armed Avalokiteśvara as the same Avalokiteśvara that appears in the Chapter of the Universal Gate of the Lotus Sūtra. Recitation of the Great Compassion Dhāraī spoken by Avalokiteśvara became more popular than faith in Thousand-armed Avalokiteśvara, and pictorial representations of the deity gave visual form to the dignity and power of the thousand arms through Thousand-armed or Forty-two Hands Avalokiteśvara within compositions conventionally associated with Water-moon Avalokiteśvara.
목차
Ⅰ. 머리말
Ⅱ. 중국의 千手觀音 圖像과 信仰
Ⅲ. 高麗時代 千手觀音의 受容 양상
Ⅳ. 朝鮮時代 천수관음도와 四十二手觀音像
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (72)
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UCI(KEPA) : I410-ECN-0101-2017-609-000841338