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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Much research has been conducted into Seokguram Grotto, built in the 8th century AD during Korea’s Unified Silla period and located in the city now known as Gyeongju. Most studies of the grotto, however, have focussed on its main Buddha statue and the images engraved on the walls of its main rotunda. As a result, the carvings of Eight Classes of Divine Beings located in the grotto’s square mandapa(antechamber) have so far been eclipsed by the aforementioned mainstream studies, thereby receiving insufficient attention. Even when it comes to discussion of the mandapa itself, most investigations have focussed only on its floor plan or the question of whether it incorporates a wooden structure.
It is difficult, however, to separate issues relating to the structure of Seokguram’s mandapa from its carvings of Eight Classes of Divine Beings. This is because the latter are carved in relief on the rectangular stones that clad the interior of the mandapa. Without the stones into which the carvings are rendered, the form of the mandapa itself would be incomplete. The 10 stones onto which the Eight Classes of Divine Beings and two Vajrapanis are carved, are both designs decorating the mandapa and part of the actual structure itself.
This study aims to determine the original context of the Eight Classes of Divine Beings carved in the Seokguram mandapa and to reassess their meaning and value. It begins by comparing the names of the divine beings in the mandapa with those of divine beings carved on Silla-period pagodas, in order to confirm that the former are not simply a random assembly of Dharma guardians but a gathering of the Eight Classes of Divine Beings as constantly described in Buddhist scripture. Then, based on the fact that the context in which the Eight Classes of Divine Beings appear in Buddhist scripture is almost identical to that in which they are carved on the stones of the Seokguram mandapa, it is established that the mandapa was not designed according to some vague mathematical or geometric plan, but as a religious space in which important Buddhist activities such as ceremonies, sutra chanting and acetic self-cultivation took place. The Eight Classes of Divine Beings in the mandapa, then, can be understood not simply as guardian deities but as carvings placed in a space of action to commune with Buddhist believers and to define the character and functions of the mandapa.
The Seokguram mandapa gives tangible form to the abstract statements of the Buddhist scriptures. As a space, it is not a geometrical “void” but a “topos” created to allow the mixing of the Eight Classes of Divine Beings, the Fourfold Assembly(四部衆), faith and art, and imagination and reality. It is also a place of Buddha"s teaching, in which deities watch over ascetics as they perform religious deeds.
It is difficult, however, to separate issues relating to the structure of Seokguram’s mandapa from its carvings of Eight Classes of Divine Beings. This is because the latter are carved in relief on the rectangular stones that clad the interior of the mandapa. Without the stones into which the carvings are rendered, the form of the mandapa itself would be incomplete. The 10 stones onto which the Eight Classes of Divine Beings and two Vajrapanis are carved, are both designs decorating the mandapa and part of the actual structure itself.
This study aims to determine the original context of the Eight Classes of Divine Beings carved in the Seokguram mandapa and to reassess their meaning and value. It begins by comparing the names of the divine beings in the mandapa with those of divine beings carved on Silla-period pagodas, in order to confirm that the former are not simply a random assembly of Dharma guardians but a gathering of the Eight Classes of Divine Beings as constantly described in Buddhist scripture. Then, based on the fact that the context in which the Eight Classes of Divine Beings appear in Buddhist scripture is almost identical to that in which they are carved on the stones of the Seokguram mandapa, it is established that the mandapa was not designed according to some vague mathematical or geometric plan, but as a religious space in which important Buddhist activities such as ceremonies, sutra chanting and acetic self-cultivation took place. The Eight Classes of Divine Beings in the mandapa, then, can be understood not simply as guardian deities but as carvings placed in a space of action to commune with Buddhist believers and to define the character and functions of the mandapa.
The Seokguram mandapa gives tangible form to the abstract statements of the Buddhist scriptures. As a space, it is not a geometrical “void” but a “topos” created to allow the mixing of the Eight Classes of Divine Beings, the Fourfold Assembly(四部衆), faith and art, and imagination and reality. It is also a place of Buddha"s teaching, in which deities watch over ascetics as they perform religious deeds.
목차
Ⅰ. 머리말
Ⅱ. 석굴암 팔부중 도상과 양식 분석
Ⅲ. 전실 팔부중상의 상징
Ⅳ. ‘說處’로서의 석굴암 전실
Ⅴ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (83)
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