<皇龍寺刹柱本記>와 불사리장엄구 연구 (Hwangnyongsachaljubongi and Sarira Reliquaries from Nine-story Wooden Pagoda of Hwangnyongsa)

서지정보

· 발행기관 : 국립중앙박물관
· 수록지 정보 : 미술자료 / 77호 / 15 ~ 40페이지
· 저자명 : 한정호

초록

In the 15th year of Queen Sundeok(646), the Nine-story Wooden Pagoda of Hwangnyongsa
(皇龍寺), one of the three treasures of the Silla kingdom, was founded. The pagoda was
destroyed during the Mongolian invasion in the 25th year of King Gojong(1238) of the Goryeo
dynasty, and only the temple site currently remains.The sarira and sarira reliquaries of the pagoda had been kept inside the foundation stone after the pagoda was destroyed, but these relics were robbed in 1964. Two years later, the robbers were arrested, but this history caused a problem to the study of the sarira reliquaries of Hwangnyongsa because it was believed that some of the relics were mixed with those from other sites while they were in the hands of the robbers. It has been thought that original relics of the Nine-story Wooden Pagoda of Hwangnyongsa were mixed with gilt bronze sarira case from other pagoda, which is dated 883, while they were stolen. However, through the fact that the lid of this gilt bronze sarira case remained in the sarira hole of the Hwangnyongsa pagoda even after the robbery, this study denies the possibility that the relics were mixed up. This study also cross-examines the sarira reliquaries with the section on the Nine-story Wooden Pagoda in Hwangnyongsachaljubongi(皇龍寺刹柱本記). The result shows that Sarira Reliquaries of the Nine-story Wooden Pagoda of Hwangnyongsa were enshrined in the following order: a gilt bronze outer sarira case, a silver sarira brass bowl with a lid inside the outer case, a gold sarira brass bowl with a lid next, and a lotus-shaped gold implement in the middle. It also demonstrates that two kinds of Dharma Sarira recorded in the documents are Yeon'gibeopsong(緣起法頌) carved on two silver sheets and proves that they were made by Chunghyun by decoding two characters that have not been decoded until the present.Examinations of several documents and inscriptions also suggests that Dharma Sarira is the proper noun of Yeon'gibeopsong in a narrow sense. The Nine-story Wooden Pagoda of Hwangnyongsa had been repaired many times before it was destroyed in the Goryeo period. Therefore, the gilt bronze sarira case dated 883 was possibly inserted into the pagoda's sarira hole during one of the repairs or even after the pagoda was destroyed. Furthermore, while it has been accepted that the gilt bronze octagonal temple-shaped sarira implement and silver octagonal temple-shaped sarira implement were made in 872, this needs to be reconsidered because the sizes of the implements do not match the inside dimension of the gilt bronze inner sarira case where these two relics were supposed enshrined. Finally, the situation after the repair of the Nine-story Wooden Pagoda in 872 shows that the gilt bronze inner sarira case where Chaljubongi(刹柱本記) was inscribed is the one and the only artifact that illustrates the process of metalwork production in that period. In addition, the record of Chonghye who participated in the carving of the inscription provides an insight into the social position of the monks involved in the production of Buddhist art of the period.

영어초록

In the 15th year of Queen Sundeok(646), the Nine-story Wooden Pagoda of Hwangnyongsa
(皇龍寺), one of the three treasures of the Silla kingdom, was founded. The pagoda was
destroyed during the Mongolian invasion in the 25th year of King Gojong(1238) of the Goryeo
dynasty, and only the temple site currently remains.The sarira and sarira reliquaries of the pagoda had been kept inside the foundation stone after the pagoda was destroyed, but these relics were robbed in 1964. Two years later, the robbers were arrested, but this history caused a problem to the study of the sarira reliquaries of Hwangnyongsa because it was believed that some of the relics were mixed with those from other sites while they were in the hands of the robbers. It has been thought that original relics of the Nine-story Wooden Pagoda of Hwangnyongsa were mixed with gilt bronze sarira case from other pagoda, which is dated 883, while they were stolen. However, through the fact that the lid of this gilt bronze sarira case remained in the sarira hole of the Hwangnyongsa pagoda even after the robbery, this study denies the possibility that the relics were mixed up. This study also cross-examines the sarira reliquaries with the section on the Nine-story Wooden Pagoda in Hwangnyongsachaljubongi(皇龍寺刹柱本記). The result shows that Sarira Reliquaries of the Nine-story Wooden Pagoda of Hwangnyongsa were enshrined in the following order: a gilt bronze outer sarira case, a silver sarira brass bowl with a lid inside the outer case, a gold sarira brass bowl with a lid next, and a lotus-shaped gold implement in the middle. It also demonstrates that two kinds of Dharma Sarira recorded in the documents are Yeon'gibeopsong(緣起法頌) carved on two silver sheets and proves that they were made by Chunghyun by decoding two characters that have not been decoded until the present.Examinations of several documents and inscriptions also suggests that Dharma Sarira is the proper noun of Yeon'gibeopsong in a narrow sense. The Nine-story Wooden Pagoda of Hwangnyongsa had been repaired many times before it was destroyed in the Goryeo period. Therefore, the gilt bronze sarira case dated 883 was possibly inserted into the pagoda's sarira hole during one of the repairs or even after the pagoda was destroyed. Furthermore, while it has been accepted that the gilt bronze octagonal temple-shaped sarira implement and silver octagonal temple-shaped sarira implement were made in 872, this needs to be reconsidered because the sizes of the implements do not match the inside dimension of the gilt bronze inner sarira case where these two relics were supposed enshrined. Finally, the situation after the repair of the Nine-story Wooden Pagoda in 872 shows that the gilt bronze inner sarira case where Chaljubongi(刹柱本記) was inscribed is the one and the only artifact that illustrates the process of metalwork production in that period. In addition, the record of Chonghye who participated in the carving of the inscription provides an insight into the social position of the monks involved in the production of Buddhist art of the period.

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