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초록· 키워드
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Pagodas function both as structures for housing jinsin sari(sarira crystals said to have remained after the cremation of the body of Gautama Buddha), a symbol of the Buddha, and as conceptual tombs. Many Buddha statues have been discovered inside pagodas with sarira reliquaries. Statues enshrined in pagodas in this way are of high significance, regardless of position, because pagodas are sacred spaces.
27 cases Buddha statues were placed inside pagodas from the Unified Silla period to the early Goryeo period. Though previous studies have examined only the iconography and styles of these statues, it is thought that their placing in pagodas had a purpose and a function. This study therefore explores the reasons why Buddha statues were placed in pagodas, based on analysis of the ways in which they were inserted, the content of related scriptures, and the contemporary circumstances of their enshrinement.
Most of these statues depict the Buddha in a standing position. Their hands are arranged in the abhaya and varada mudras, while it is unclear which particular Buddas they represent. Not all of the statues were enshrined when the pagoda was erected: many were inserted during restoration work, or statues which were handed down from generation to generation.
Several characteristics of Buddha statues placed in pagodas in Unified Silla and early Goryeo can be identified. Firstly, trends associated with this practice in Unified Silla appear to have been influenced both by traditions continued from the Three Kingdoms period and by the newly-introduced Pure Light Dharani Sutra (無垢淨光大陀羅尼經). This sutra maintains that holding a ceremony to build or a repair a pagoda will cause the Buddha to dwell there and protect the sarira within. The arrival of the Pure Light Dharani Sutra on the Korean Peninsula in the early eighth century led to the appearance of a method of statue enshrinement that accurately reflected the content of the text. In such cases, the position of the Buddha statue is thought to have been regarded as the same as that of the sarira. From the mid-eighth century onwards, more statues were placed in the stylobate, separately from the sarira. This change can be connected to altered ceremonies associated with building pagodas. Secondly, Buddha statues placed in pagodas in the early Goryeo period show two trends: the maintenance of Unified Silla enshrinement practices; and changes due to the arrival of new sutras. The Buddha statue inside the octagonal nine-story stone pagoda at Woljeongsa Temple was placed in a higher position in the structure than the sarira, a practice influenced by the newly-introduced Bohyeopin Dharani Sutra(寶篋印陀羅尼經). At this time, cases of Buddha statues enshrined in pagodas also appear in China’s Liao empire and Wuyue kingdom. A difference between Chinese and Korean enshrinement practices is that multiple Buddha statues were enshrined in each pagoda in the former, but only one in each in the latter. It therefore appears that the arrival of the Bohyeopin Dharani Sutra on the Korean Peninsula, rather than direct influence from China, brought new awareness of the importance of Buddha statues. Demand for pagodas was low at this time, and they were not common throughout the country. It appears, however, that the Bohyeopin Dharani Sutra became fashionable through combination with enshrinement ceremonies associated with manufacturing or restoration of Buddha statues, rather than pagodas.
27 cases Buddha statues were placed inside pagodas from the Unified Silla period to the early Goryeo period. Though previous studies have examined only the iconography and styles of these statues, it is thought that their placing in pagodas had a purpose and a function. This study therefore explores the reasons why Buddha statues were placed in pagodas, based on analysis of the ways in which they were inserted, the content of related scriptures, and the contemporary circumstances of their enshrinement.
Most of these statues depict the Buddha in a standing position. Their hands are arranged in the abhaya and varada mudras, while it is unclear which particular Buddas they represent. Not all of the statues were enshrined when the pagoda was erected: many were inserted during restoration work, or statues which were handed down from generation to generation.
Several characteristics of Buddha statues placed in pagodas in Unified Silla and early Goryeo can be identified. Firstly, trends associated with this practice in Unified Silla appear to have been influenced both by traditions continued from the Three Kingdoms period and by the newly-introduced Pure Light Dharani Sutra (無垢淨光大陀羅尼經). This sutra maintains that holding a ceremony to build or a repair a pagoda will cause the Buddha to dwell there and protect the sarira within. The arrival of the Pure Light Dharani Sutra on the Korean Peninsula in the early eighth century led to the appearance of a method of statue enshrinement that accurately reflected the content of the text. In such cases, the position of the Buddha statue is thought to have been regarded as the same as that of the sarira. From the mid-eighth century onwards, more statues were placed in the stylobate, separately from the sarira. This change can be connected to altered ceremonies associated with building pagodas. Secondly, Buddha statues placed in pagodas in the early Goryeo period show two trends: the maintenance of Unified Silla enshrinement practices; and changes due to the arrival of new sutras. The Buddha statue inside the octagonal nine-story stone pagoda at Woljeongsa Temple was placed in a higher position in the structure than the sarira, a practice influenced by the newly-introduced Bohyeopin Dharani Sutra(寶篋印陀羅尼經). At this time, cases of Buddha statues enshrined in pagodas also appear in China’s Liao empire and Wuyue kingdom. A difference between Chinese and Korean enshrinement practices is that multiple Buddha statues were enshrined in each pagoda in the former, but only one in each in the latter. It therefore appears that the arrival of the Bohyeopin Dharani Sutra on the Korean Peninsula, rather than direct influence from China, brought new awareness of the importance of Buddha statues. Demand for pagodas was low at this time, and they were not common throughout the country. It appears, however, that the Bohyeopin Dharani Sutra became fashionable through combination with enshrinement ceremonies associated with manufacturing or restoration of Buddha statues, rather than pagodas.
목차
I. 머리말
Ⅱ. 한국 탑내 봉안 불상의 현황
Ⅲ.『無垢淨光大陀羅尼經』과 통일신라시대 탑내 봉안 불상
Ⅳ. 고려 전기 탑내 봉안 불상의 계승과 변화
Ⅴ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2017-609-000841343