皇龍寺 中金堂址 佛像臺石에 대한 고찰 (A Study on Stone Pedestals for the Buddha Triad in Golden Hall, at the Hwangnyonagsa Temple-site, Gyeongju)

서지정보

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· 저자명 : 한정호

초록

The Buddha statue of sixteen-foot (丈六) high that once stood in the Golden Hall at Hwangryongsa temple was produced in 574 during the King Jinheung’s era (540-575) of the Silla Kingdom. But the images were destroyed in the thirteenth century during the Goryeo Dynasty at the time of Mongol invasion. Although they no longer exist today, ancient historical record, Samguk Yusa, gives us important information that the sixteen-foot gilt bronze Buddha triad was made after the model supposedly sent by Indian King Ashoka. Although it seems to be legendary this suggests that the auspicious image of Buddha at Hwangnyongsa probably followed a certain model of Indian origin.
At the site of the Golden Hall temple site of Hwangnyongsa there still remain three huge stone pedestals for the lost sixteen-foot Buddha triad, and several more stone bases remain for the images of ten disciples. Brahma and Indra and Four Guardian Kings. This paper, however, focuses on the stone pedestal of the main Buddha by examining its shape and surface traces in an attempt to reconstruct the original statue of the Buddha and it’s structure.
Frist, the stone used for the three pedestals of the Buddha triad was probably brought from somewhere that was originally used for the cover of Dolmen structure. The color traces of the three pedestals indicate that they were cut from one piece of a huge stone.
The stone pedestal shows deeply cut holes, two rectangular ones inside a round ring and one single square hole outside the ring. These remains help to imagine how the images were once stood. It is assumed that probably an wooden lotus pedestal was placed over stone pedestal to fit to the hollow round ring. The shapes of the lotus leaves of the pedestal might be compared with those of the stone Amitabha Buddha Triad at Mount Seondo in the western part of Gyeongju city.
The main Buddha statue is known be about 5m tall, but at the time of it production they used the measurement following the system of Goryeocheok (高麗尺).
Based on th size of the holes for the foot of the Buddha statue on the stone pedestal the height of the sixteen-foot (丈六) Buddha statue would be about 570cm based on the measurement that one cheok (尺) corresponds to 35.66cm in Goryeocheok. The same measurement system was also applied to the arrangement of the columns in the main buildings at the same temple.
It is difficult to determine when the other statues in the Golden hall, probably the ten disciples, Four Guardian Kings and Brahma and India were made. I assume that they were probably made in clay statues. The stone pedestals indicate that those for the ten disciples and Four Guardian Kings were made at the same period, probably made together with the Buddha Triad, or more likely some years later. There were several reconstructions and enlargement were carried out at Hwangnyongsa temple, one in the mid-seventh century and also in the mid-eighth century. It seems that the Brahma and Indra were added later in the mid-eighth century since one has to also consider the time when a new buddhist iconography was added in the development of Buddhist art.

영어초록

The Buddha statue of sixteen-foot (丈六) high that once stood in the Golden Hall at Hwangryongsa temple was produced in 574 during the King Jinheung’s era (540-575) of the Silla Kingdom. But the images were destroyed in the thirteenth century during the Goryeo Dynasty at the time of Mongol invasion. Although they no longer exist today, ancient historical record, Samguk Yusa, gives us important information that the sixteen-foot gilt bronze Buddha triad was made after the model supposedly sent by Indian King Ashoka. Although it seems to be legendary this suggests that the auspicious image of Buddha at Hwangnyongsa probably followed a certain model of Indian origin.
At the site of the Golden Hall temple site of Hwangnyongsa there still remain three huge stone pedestals for the lost sixteen-foot Buddha triad, and several more stone bases remain for the images of ten disciples. Brahma and Indra and Four Guardian Kings. This paper, however, focuses on the stone pedestal of the main Buddha by examining its shape and surface traces in an attempt to reconstruct the original statue of the Buddha and it’s structure.
Frist, the stone used for the three pedestals of the Buddha triad was probably brought from somewhere that was originally used for the cover of Dolmen structure. The color traces of the three pedestals indicate that they were cut from one piece of a huge stone.
The stone pedestal shows deeply cut holes, two rectangular ones inside a round ring and one single square hole outside the ring. These remains help to imagine how the images were once stood. It is assumed that probably an wooden lotus pedestal was placed over stone pedestal to fit to the hollow round ring. The shapes of the lotus leaves of the pedestal might be compared with those of the stone Amitabha Buddha Triad at Mount Seondo in the western part of Gyeongju city.
The main Buddha statue is known be about 5m tall, but at the time of it production they used the measurement following the system of Goryeocheok (高麗尺).
Based on th size of the holes for the foot of the Buddha statue on the stone pedestal the height of the sixteen-foot (丈六) Buddha statue would be about 570cm based on the measurement that one cheok (尺) corresponds to 35.66cm in Goryeocheok. The same measurement system was also applied to the arrangement of the columns in the main buildings at the same temple.
It is difficult to determine when the other statues in the Golden hall, probably the ten disciples, Four Guardian Kings and Brahma and India were made. I assume that they were probably made in clay statues. The stone pedestals indicate that those for the ten disciples and Four Guardian Kings were made at the same period, probably made together with the Buddha Triad, or more likely some years later. There were several reconstructions and enlargement were carried out at Hwangnyongsa temple, one in the mid-seventh century and also in the mid-eighth century. It seems that the Brahma and Indra were added later in the mid-eighth century since one has to also consider the time when a new buddhist iconography was added in the development of Buddhist art.

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