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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.
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The pedestals of ancient East Asian Buddha statues have ‘Boshanxianglu (博山香爐)’ on them. It is so common that it is hard to find a case without Boshanxianglu among the pedestals of Buddha created in the 6th century. Boshanxianglu is always placed at the right center of the square pedestal, and a lion image and a Vajrapani image are placed, respectively, on its left and right. A remarkable fact is that the use of Boshanxianglu is concentrated on a specific period of time. It began to appear when Buddhist arts were gradually localized in China in the mid 5th century, and enjoyed its highest popularity in all parts of China throughout the 6th century. Interestingly, however, entering into the Tang Dynasty, Boshanxianglu disappeared from the center of the square pedestal of Buddha and at the same time the pedestal itself was transformed into a three‐step form, having top, middle and bottom layers. This study started from the questions of why Boshanxianglu began to appear on the pedestals of Buddha in the 5th and 6th centuries and what was the reason for its disappearance along with the emergence of three‐step pedestals in the 7th century.
Ancient Buddhist artists in China borrowed the motifs of traditional Han people in order to express Buddhist concepts from India in a way understandable to Chinese. Although there are innumerable cases of such, one of the most notable examples is Boshanxianglu on the pedestals of Buddha. In general, Boshanxianglu was thought to symbolize Mt. Kunlun(崑崙山), and it was believed that Xiwangmu(西王母) stayed on the summit. Buddhist image makers in the 5th and 6th centuries chose Boshanxianglu symbolizing Mt. Kunlun [or Mt. Sumi(須彌山) in Buddhism], and visualized it on the pedestal. It was because they believed that if one climbed up to the top of Boshanxianglu like climbing up Mt. Kunlun through a rugged journey in search of Xiwangmu they would enter the realm where Buddha was living.
The pedestal of Buddha was not simply a base for enshrining a Buddhist image, and it contained many symbolic meanings. Especially Boshanxianglu on the pedestal greatly popular throughout China in the 6th century is an exemplary case representing well ancient Chinese’s concept of the world after death. Through the ritual vessel(禮器) Boshanxianglu, Buddhist image makers in ancient China tried to express the universal symbolic system perceived by them. Of course, what was examined in this study was mainly the pedestal of Buddha, but the findings should be understood not within the boundary of Buddhism but based on East Asian traditional concepts.
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