옥충추자(玉蟲廚子) 수미좌부(須彌座部)의 회화(繪畵)에 관한 고찰 -소의경전(所依經典) 문제를 중심으로- (Consideration on Paintings in Sumeru Seat of Tamamushizushi : Centering on Relying-on Scripture Problem)

서지정보

· 발행기관 : 한국종교학회
· 수록지 정보 : 종교연구 / 57호 / 149 ~ 180페이지
· 저자명 : 염중섭

초록

Tamamushizushi(玉蟲廚子) is generally composed of Buddhist altar(or Palace), Sumeru Seat, and stereobate. In the Sumeru seat of them, four different Buddhist paintings are inscribed in its four faces: Gongyangdo(供養圖:Offering picture) in front of it, Sashinsahodo(捨身飼虎圖:Self desert to feed tiger picture) and Sishinmungedo(施身聞偈圖:Giving flesh to get poem picture) in both sides, and Sumeru mountain picture(須彌山圖) in its rear part.
The purpose of this paper is to consider the validity of four paintings in Sumeru seat in the view point of Relying-on Scriptures.
Of the four paintings in Sumeru seat, Sishinmungedo and Sashinsahodo must have been produced in accordance with 'Holy conduct' in <Mahaparinirvanasutra> and 'Self-deserting conduct' in <Suvarṇaprabhāsa-sūtra> and there have been no objections on it because of the clarity of picturesque features. Therefore, for these two paintings, more comprehensive understanding was sought through the work analysis upon the contents of sutras.
Through this, it can be certified that Sishinmungedo and Sashinsahodo contains the structural aspects to secure the symmetric correlation of both pictures on the basis of images in 'Holy conduct' of <Mahaparinirvanasutra> and 'Self-deserting conduct' of <Suvarṇaprabhāsa-sūtra>. In this structural aspects, it can also be recognized that there was an intentional surface treatment to maximize the performance as the edifying picture.
Due to the uncertainty of pictural shape, Gongyangdo and Sumeru mountain picture have some difficulty in approaching them through the relying-on scriptures. In spite of it, there is an assertion of Isida Shohoo(石田尙豊) that these pictures were derived from Karuṇāpuṇḍarīka-sūtra(悲華經) and Dragon King sutra(海龍王經) respectively. So, it is necessary to notice this point. In this paper, Gongyangdo and Sumeru mountain picture were more closely examined to resolve the uncertainty of these pictures and were validated in the aspect of Relying-on Scriptures.
Through this, we acquired the conclusion that, for Gongyangdo and Sumeru mountain picture, the more complete solution could be suggested through the Buddhist symbolism rather than Relying-on Scriptures. Of them, Gongyangdo could acquire its symbolism through the internal reflection related with Sishinmungedo and Sashinsahodo on both sides. Sumeru mountain picture could also be comprehended symbolically in that it was more recognizable with the Buddha's religious dignity.
The religious work usually secures the high gravity in the ritual aspect based on the scripture and the doctrine, but the symbolism can also be said to take a pretty important role in its exact recognition. That is, 'the scriptures that include the doctrines' and 'the symbolism' consist the two most important axes in the religious art. Therefore, it seems very important to secure this kind of view point in comprehension of Tamamushizushi, too. The recognition through this can be said to be a more appropriate method in going into the essence of the work.

영어초록

Tamamushizushi(玉蟲廚子) is generally composed of Buddhist altar(or Palace), Sumeru Seat, and stereobate. In the Sumeru seat of them, four different Buddhist paintings are inscribed in its four faces: Gongyangdo(供養圖:Offering picture) in front of it, Sashinsahodo(捨身飼虎圖:Self desert to feed tiger picture) and Sishinmungedo(施身聞偈圖:Giving flesh to get poem picture) in both sides, and Sumeru mountain picture(須彌山圖) in its rear part.
The purpose of this paper is to consider the validity of four paintings in Sumeru seat in the view point of Relying-on Scriptures.
Of the four paintings in Sumeru seat, Sishinmungedo and Sashinsahodo must have been produced in accordance with 'Holy conduct' in <Mahaparinirvanasutra> and 'Self-deserting conduct' in <Suvarṇaprabhāsa-sūtra> and there have been no objections on it because of the clarity of picturesque features. Therefore, for these two paintings, more comprehensive understanding was sought through the work analysis upon the contents of sutras.
Through this, it can be certified that Sishinmungedo and Sashinsahodo contains the structural aspects to secure the symmetric correlation of both pictures on the basis of images in 'Holy conduct' of <Mahaparinirvanasutra> and 'Self-deserting conduct' of <Suvarṇaprabhāsa-sūtra>. In this structural aspects, it can also be recognized that there was an intentional surface treatment to maximize the performance as the edifying picture.
Due to the uncertainty of pictural shape, Gongyangdo and Sumeru mountain picture have some difficulty in approaching them through the relying-on scriptures. In spite of it, there is an assertion of Isida Shohoo(石田尙豊) that these pictures were derived from Karuṇāpuṇḍarīka-sūtra(悲華經) and Dragon King sutra(海龍王經) respectively. So, it is necessary to notice this point. In this paper, Gongyangdo and Sumeru mountain picture were more closely examined to resolve the uncertainty of these pictures and were validated in the aspect of Relying-on Scriptures.
Through this, we acquired the conclusion that, for Gongyangdo and Sumeru mountain picture, the more complete solution could be suggested through the Buddhist symbolism rather than Relying-on Scriptures. Of them, Gongyangdo could acquire its symbolism through the internal reflection related with Sishinmungedo and Sashinsahodo on both sides. Sumeru mountain picture could also be comprehended symbolically in that it was more recognizable with the Buddha's religious dignity.
The religious work usually secures the high gravity in the ritual aspect based on the scripture and the doctrine, but the symbolism can also be said to take a pretty important role in its exact recognition. That is, 'the scriptures that include the doctrines' and 'the symbolism' consist the two most important axes in the religious art. Therefore, it seems very important to secure this kind of view point in comprehension of Tamamushizushi, too. The recognition through this can be said to be a more appropriate method in going into the essence of the work.

참고자료

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