일본 다나카家 소장 고려말기 <毘盧遮那三千佛圖>에 대한 고찰 -三千大天世界에 충만한 法身의 조형적 표현- (‘Vairocana and the Three-Thousand Buddhas’ Painting in the Tanaka Family Collection: Representation of Dharmakāya Filling the Trichiliocosm)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 261권 / 261호 / 5 ~ 39페이지
· 저자명 : 강소연

초록

본 논고에서 주제로　삼은　작품 고려시대　<毘盧遮那三千佛圖>는 　일본에　유출된　이후，　일본인 田中小左衛門의 家寶로　대대로　내려왔다．이　작품은　일본　전래　이후 <萬佛畵>　<一萬三千佛圖>　등으로　불리었고， 근래에　들어서는　<毘盧遮那佛變相圖>　<毘盧遮那說法圖>　등의　학술적　題名으로 소개되었다．다양한　이름을　가지고　있는　본　작품을 보다 구체적인　도상　해석을　바탕으로，제　이름을　찾아주고자　시도하였다．논자는　작품의 제명을 <毘盧遮那三千佛圖>로 제시하고, 이를 입증하는　것을　논고의 주된 내용으로 삼았다．
　　작품의　형식적 특징으로　먼저 多佛의 기하급수적인 회화적 표현을　들었고，다음으로　석가모니의　협시　聖衆과　일치하는　비로자나의　협시　성중의　구성을　들었다．석가모니　협시 성중의　일원 구성과　일치하는　본　작품의　비로자나의 성중을　바탕으로, ‘석가모니 ＝ 비로자나’라는 등식 관계를 설정하고，응신 석가모니와 법신 비로자나가 궁극적으로 ‘不二’의　관계에　있다는　것을　화엄경에서　구체적인　문구를　들어 살펴보았다. 그리고 이러한　전통적 조형　원리가 본 작품에도 십분 적용되었음을 설명하였다．
　　다불　신앙을　근거로　한　다양한　장르의　작품　중에서도，본　작품은　비로자나를　중심으로　하는　화엄사상을　바탕으로　제작된　것이므로，　화엄사상　범주　안에서　비로자나와　多佛의　표현이　어떤　식으로　이루어졌는지，중국 송대 梵網經菩薩戒本의 사경화 및　일본　唐招提寺 盧舍那佛坐像　등의　비교　작례를　들어　본　작품을 입체적인　조명하였다.
그리고　본　작품의　도상　내용과　그　사상적　배경을　보다　구체화하는　작업의　일환으로,　고려시대　海印寺 華嚴經 寫經板本의　「華藏世界品」의 變相圖을　들어，이　변상도에　나타난　‘비로자나와　多佛’의　조형적　표현과　본　작품의　유사성을　비교하였다．화장세계품에 나오는 구체적인 내용들을 통해보면, 이러한 도상이 蓮華藏世界를 장엄하는 ‘毘盧遮那와 그 변화 분신인 化佛’이라는 것을 알 수 있다. 그리고 崇嚴山 聖住寺 事蹟記에 나타난 ‘毘盧遮那와 三千佛’, 그리고 이러한 조합이 안치된 ‘三千佛殿’의 내용을 통해, ‘비로자나와 多佛’의 조합이 전통적으로 어떻게 인식되어 왔는지 그 근거를 제시하였다. 비로자나를 필두로 하는 화엄사상 안으로 포섭되어 정착된 다불 사상의 전통은, 고려시대 뿐만 아니라 조선시대로 이어지고, 현재에도 다수의 사찰에서 ‘毘盧遮那와 三千佛’을 모신 三千佛殿을 찾아볼 수 있다.
본 작품의 사상적 배경의 典據가 되는 구체적인 내용들을 화엄경에서 찾아 華嚴 佛身觀, 즉 ‘三千大天世界에 가득한 法身觀’이 具現된 작례로서 본 작품의 성격을 규정하였다. 본 작품은 화엄경의 특정 品에 국한 된 내용이 아니라, 「如來現相品」「華藏世界品」「世主妙嚴品」「毘盧遮那品」「如來出現品」「入法界品」등 화엄경 전체를 관통하는 전반적인 내용에 나타나는 ‘法界 充滿의 佛身觀’을 재현한 것이다. 작품 정중앙의 法身 毘盧遮那에서 나오는 威神力으로 三千大天世界는 그의 分身인 수많은 化佛로 장엄되는 것이다. 상기와 같은 맥락을 근거로 논자는 본 작품의 題銘을 ＜毘盧遮那三千佛圖＞라고 제시하는 바이다.

영어초록

‘Vairocana and the Three-Thousand Buddhas(毘盧遮那三千佛圖)’ is a Korean Buddhist painting from the late Goryeo period. The painting was later taken to Japan and ended up as the heirloom of the family of a certain Tanaka Kozaemon. The painting has been popularly known in Japan as “Ten Thousand Buddhas (萬佛畵)” or “Thirteen Thousand Buddhas (一萬三千佛圖).” In recent decades, the painting has been given more scholarly titles such as “Vairocana Narrative (毘盧遮那佛變相圖)” or “Vairocana Preaching (毘盧遮那說法圖).” This paper attempts to find the painting its proper title, more suited to its iconographic significance and thus proposes to call it “Vairocana and the Three -Thousand Buddhas(毘盧遮那三千佛圖)”.
As stylistic evidence justifying this title, firstly I point out the legion of Buddhas depicted in the painting. And interpret them as infinite dharmakāya filling the Cosmic Lotus World.I also discuss how the attendants and disciples of Vairocana in this painting are placed in exactly the same positions as those of Śākyamuni in the theme “Śākyamuni Preaching on Mt. Ghṛdrakuta.” This interesting symmetry suggests equation between Vairocana and Śākyamuni. In other words, Śākyamuni, sambhogakāya, was perceived as one and the same with Vairocana, dharmakāya.
I further argue that of the many metaphysical sources that influenced Buddhist paintings representing a multitude of Buddhas, this particular work embodies the Mahāyāna philosophy, more particularly the Hwaeom(Huayan) tradition, in which Vairocana occupies the central place. In order to prove this point, I turn to the frontispiece of the Brahmajāla Sūtra of Song-dynasty in which multiple incarnation bodies spring out of the cosmic lotus is depicted, and the sited Locana figure with a thousand-Buddha body halo of Tōshōdaji in Japan for comparison. I also take a close look at the frontispiece of the Cosmic Lotus World chapter of the Flower Garland Sutra (Avataṃsaka Sutra) of Haeinsa from the Goryeo dynasty, in order to see how they depict Vairocana and a multitude of Buddhas and to determine the similarities between them and the Tanaka collection painting. I argue that these pictorial representations depict Vairocana and his numerous doubles as nirmāṇabuddha (Buddha of Transformation), which together adorn the Cosmic Lotus World. By looking at the temple records of Seongjusa on Mt. Sungeom, where mentions of sculptures representing “Vairocana and the Three Thousand Buddhas” are found, along with the mentions of a certain “Hall of Three Thousand Buddhas,” I attempt to cast light onto the traditional perception of Vairocana and a myriad of Buddhas. The worship of a myriad of Buddhas, transmitted to Korea during the Goryeo dynasty in the context of Hwaeom thought, remained in currency through to the Joseon dynasty. Even today, many Buddhist temples in Korea have a separate hall known as the “Hall of Three Thousand Buddhas,” housing Vairocana and the three thousand Buddhas. My discussion finally turns to the Flower Garland Sutra, as a possible source for this tradition. I argue that the Hwaeom doctrine of buddhakāya of the Buddha body system is the chief source for this work; in other words, the notion that ‘dharmakāya fills the trichiliocosm’. This notion whereby the bodily incarnations of Buddha pervade the dharma realm is an idea recurrent throughout the Flower Garland Sutra, expressed in the chapters of the “Manifestations of the Buddha,” “Cosmic Lotus World,” “Wonderful Adornments of the Lord of the Worlds,” “Vairocana,” “Appearance of the Buddha,” and “Entry into the Dharma Realm.” In the Hwaeom tradition, the trichiliocosm are conceived as a universe adorned by myriads of incarnations of Buddha. Following this line of argument, the paper draws the conclusion that the most appropriate thematic title for the Tanaka collection painting is “Vairocana and the Three-Thousand Buddhas.”

참고자료

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