KCI등재후보
三國時代의 捧持寶珠形 菩薩立像 硏究 : 百濟와 日本의 像을 중심으로 = Bodhisattva Images with Cint□mani from the Three Kingdoms Period
저자
발행기관
학술지명
권호사항
발행연도
1985
작성언어
Korean
KDC
609
등재정보
KCI등재후보
자료형태
학술저널
수록면
1-41(41쪽)
제공처
소장기관
Among the Bodhisattva images dating from the Three Kingdoms period, there are a group which hold a cint□mαni (jewel) with both hands. Of the eleven known examples of this type, seven of them were discovered in the ancient Paekche territory. The most famous of those seven images, are the central Bodhisattva figure between two standing Buddha reliefs at Taean (pl . 13b), and the attendant Bodhisattva on the right side of the S□san Buddha triad (pl .14), both located in Sasan District of South Ch'ungch'□ng Province . The rest of these five images including the ones in fragmentary condition were discovered from Puy□ (pls.2-6), the ancient capital of Paekche Kingdom.
It is interesting to know that the same type of the Bodhisattva figures have also been found among the early Japanese Bodhisattva statues from Asuka and early Nara periods. Of the thirteen known examples of these, the "Vumedono Kannon" (p1.11)and a gilt bronze Bodhisattva (p1.10) in H□ry□ji are well known . Others include the gilt bronze Bod hisattva statues (nos. 165-167) among the group of the famous Shiju Haffαi Bufsu (pls. 17, 20a,b, 25), one from Kanshinji (pl . 26) and another from Sekiyamanjinja (pl . 18), and etc.
It is a known historical fact thatpaekche played the initial role in the propagation of Japanese Buddhism in the late sixth century. Therefore it is assumed that this particular type was introduced to Asuka Japan when Paekche was most influential during the formative stage of Japanese Buddhist art. Many of these Korean and Japanese examples share certain stylistic affinities in the shape of the high crown, pointed necklace, and in the mode of scarf which is crossed in front and drawn at the back of the statue in a long U-shaped loop, in addition to the jewel held by the both hands.
As to the idendity of these Bodhisattva images, none of these can be identified by the inscription. However since some of these have been called as Avalokite□vara in Japan, either by the written record which is the case of the "Yumedono Kannon''of H□ry□ji, or by the presence of a small seated Buddha figure of Amit□bh□ of the crown as in some gilt bronze examples, one can safely propose that the deity was worshipped as Avalokite□vara in Japan, and this was probably the case in Korea, too. If this was the case, the popular textual source for this Avalokite□vara cult in this early stage of Buddhist faith was possibly derived from The Lotus sutra, particularly the chapter tw enty-five''Gateway of the Bodhisattva Sound -Observer'', which is devoted to the various merits attained by worshipping the deity Avalokite□vara.
It is thought that this type of the Bodhisattva image holding jewel was In vogue In Paekche, before the appea rance of the Avalokite□vara images with a Amit□bh□ figure on its crown. This latter type seems to become popular with the rise of the faith in the Amit□bh□ Buddha of the Western Paradise in the middle or the latter part of the seventh century.
In order to compare the stylistic features and search for the iconographic meanings of this particular type of the Bohdisattva images from China, Korea and Japan, the historical'accounts on the intercultural relationships and the rise of the Avalokitestara cult were considered. The paper also acknowledges the difficulty of setting a clear stylistic lineage in the formation of Paekche sculptural style since one sees not only the South Chinese influence but also the Kogury□ elements, which was in turn influenced by the Northern Wei Chinese sculptural style. One should not forget, however, the fact that in the sixth century, the Northern Chinese Buddhist art was very much sinicized by the influence of the South.
Despite of the complexity of the stylistic as well as the iconographic aspects of the Bodhisattva images holding a Jwell with both hands, the popular worship of this image in Korea and Japan in the late sixth ant seventh centuries is a clear indication that Paekche was not a mere bridge between China and Japan in this intercultural exchange but Played a crucial role in adding a new artistic e!erments, and contributed greatly to the spread of a new type and style of Bodhisattva images.
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