고려시대 금속제 소형탑의 조성 배경과 유형 (Production Background and Types of Goryeo Metal Stupas)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 25호 / 209 ~ 240페이지
· 저자명 : 김윤정

초록

Many metal stupas recorded as having been made during the Goryeo period currently remain in Korea. It is estimated that around 15 of these have retained their tower bodies and bases intact and thus still look, to some extent, like stupas, while around 40 remain only partially intact. Recent excavations, moreover, continue to bring reports of metal stupas, making it appear that small stupas made of metal were widely prevalent. In contrast to the number of excavated artifacts, however, the almost total lack of cases where the inscription or place of excavation are clearly known means that both determining a clearly defined standard work and conducting research in general on metal stupas is difficult. Existing metal stupas, however, show a style similar to towers found in Goryeo stone pagodas or in the frontispiece illustrations of copied sutras, while many related entries can also be found in documentary records from Goryeo. It therefore appears clear that production of metal stupas took place more actively during the Goryeo period than at other times. According to records, metal stupas were generally installed and worshipped within royal palaces, while their appearance was that of multi-storied wooden pagodas. This also corresponds to the appearance of extant metal stupas.
Such metal stupas were modeled after actual buildings, but give a strong sense of being craftworks due to the fact that they are small and made of metal. Unlike the belief in making food offerings to Buddha in small stupas, which was prevalent in the Unified Silla period, metal stupas from the Goryeo period, which have a decorative air, went beyond offerings in terms of significance and were produced as objects of worship. As such, it is believed that the prevalence of a new type of miniature metal stupa in the Goryeo period, unlike those of the past, was stimulated by a form of faith different from that of the previous age.
Among prevalent religious texts of the Goryeo period, the Dharani Sutra and the Saddharma Pundarika Sutra are noteworthy for their emphasis on the building of stupas. The Dharani Sutra is one of the leading scriptures on the merits of building stupas, emphasizing faith in stupas by claiming that the blessings from the divine power of all Buddhas can be obtained by writing out the dharani, placing it in a stupa and worshipping it. Buddhist King Qian Hongshu 錢弘叔 of the Wuyue 吳越 kingdom had dharani stupas made in accordance with the Dharani Sutra and spread them far and wide. Faith in this scripture became prevalent in Goryeo, too. A relationship may be noted between the method of worship of dharani stupas and that of Goryeo metal stupas. The enshrining and worship of Goryeo metal stupas in royal palaces, as mentioned in documentary records, shows similarities to the faith in the stupas of King Ashoka, on which dharani stupas were modeled it therefore appears that the way of faith for Ashoka stupas was spread to several areas by dharani stupas, also influencing the metal stupas of Goryeo.
The Saddharma Pundarika Sutra, another scripture emphasizing stupa offerings, along with the Dharani Sutra, also had an effect on boosting stupa worship in the Goryeo period. As the principle scripture of the Cheontae school of Buddhism, which was founded and grew rapidly in Goryeo at the time, the Saddharma Pundarika Sutra developed with such an emphasis on faith in stupas that illustrated frontispieces such as the Jewelled Stupa Mandala(寶塔曼茶羅圖) emerged.
As belief in stupas based on the Dharani and Saddharma Pundarika Sutras emerged, principally in the Jiangnan region of China, production of miniature stupas in materials such as ceramic, stone and metal increased in various other regions of China. Among these, the metal stupas of the Wuyue kingdom, like those of Goryeo, resembled multi-story wooden pagodas, allowing us to guess at a relationship of influence between them. At the time, Wuyue was the region in which Buddhism was most developed it remained a center of Buddhism after being incorporated into Song, maintaining intimate exchange with Goryeo. In these circumstances, the metal stupas of both states developed under mutual influence.
Comparison of the metal stupas of Goryeo and of the Jiangnan region of China shows similarities in overall appearance, including pedestals in the style of Buddha statues and high towers modeled after multi-story wooden pagodas. Chinese metal stupas, however, were generally made using sheet silver, whereas those of Goryeo used a casting method based on the basic skeleton. This was further developed into techniques such as casting parts of the stupa separately before assembly, and casting it in its entirety. Moreover, Chinese metal stupas are made of sheet silver with seated Buddhas depicted in line engravings on the surface, whereas many Goryeo metal stupas feature seated Buddhas in relief or in round on their first stories. Goryeo metal stupas thus became prevalent along with the emergence on a large scale of stupa faith due to Buddhist exchange with the Jiangnan region of China at the time, but developed forms of their own due to being cast according to traditional metal stupa production methods that originated in the Unified Silla Period.

영어초록

Many metal stupas recorded as having been made during the Goryeo period currently remain in Korea. It is estimated that around 15 of these have retained their tower bodies and bases intact and thus still look, to some extent, like stupas, while around 40 remain only partially intact. Recent excavations, moreover, continue to bring reports of metal stupas, making it appear that small stupas made of metal were widely prevalent. In contrast to the number of excavated artifacts, however, the almost total lack of cases where the inscription or place of excavation are clearly known means that both determining a clearly defined standard work and conducting research in general on metal stupas is difficult. Existing metal stupas, however, show a style similar to towers found in Goryeo stone pagodas or in the frontispiece illustrations of copied sutras, while many related entries can also be found in documentary records from Goryeo. It therefore appears clear that production of metal stupas took place more actively during the Goryeo period than at other times. According to records, metal stupas were generally installed and worshipped within royal palaces, while their appearance was that of multi-storied wooden pagodas. This also corresponds to the appearance of extant metal stupas.
Such metal stupas were modeled after actual buildings, but give a strong sense of being craftworks due to the fact that they are small and made of metal. Unlike the belief in making food offerings to Buddha in small stupas, which was prevalent in the Unified Silla period, metal stupas from the Goryeo period, which have a decorative air, went beyond offerings in terms of significance and were produced as objects of worship. As such, it is believed that the prevalence of a new type of miniature metal stupa in the Goryeo period, unlike those of the past, was stimulated by a form of faith different from that of the previous age.
Among prevalent religious texts of the Goryeo period, the Dharani Sutra and the Saddharma Pundarika Sutra are noteworthy for their emphasis on the building of stupas. The Dharani Sutra is one of the leading scriptures on the merits of building stupas, emphasizing faith in stupas by claiming that the blessings from the divine power of all Buddhas can be obtained by writing out the dharani, placing it in a stupa and worshipping it. Buddhist King Qian Hongshu 錢弘叔 of the Wuyue 吳越 kingdom had dharani stupas made in accordance with the Dharani Sutra and spread them far and wide. Faith in this scripture became prevalent in Goryeo, too. A relationship may be noted between the method of worship of dharani stupas and that of Goryeo metal stupas. The enshrining and worship of Goryeo metal stupas in royal palaces, as mentioned in documentary records, shows similarities to the faith in the stupas of King Ashoka, on which dharani stupas were modeled it therefore appears that the way of faith for Ashoka stupas was spread to several areas by dharani stupas, also influencing the metal stupas of Goryeo.
The Saddharma Pundarika Sutra, another scripture emphasizing stupa offerings, along with the Dharani Sutra, also had an effect on boosting stupa worship in the Goryeo period. As the principle scripture of the Cheontae school of Buddhism, which was founded and grew rapidly in Goryeo at the time, the Saddharma Pundarika Sutra developed with such an emphasis on faith in stupas that illustrated frontispieces such as the Jewelled Stupa Mandala(寶塔曼茶羅圖) emerged.
As belief in stupas based on the Dharani and Saddharma Pundarika Sutras emerged, principally in the Jiangnan region of China, production of miniature stupas in materials such as ceramic, stone and metal increased in various other regions of China. Among these, the metal stupas of the Wuyue kingdom, like those of Goryeo, resembled multi-story wooden pagodas, allowing us to guess at a relationship of influence between them. At the time, Wuyue was the region in which Buddhism was most developed it remained a center of Buddhism after being incorporated into Song, maintaining intimate exchange with Goryeo. In these circumstances, the metal stupas of both states developed under mutual influence.
Comparison of the metal stupas of Goryeo and of the Jiangnan region of China shows similarities in overall appearance, including pedestals in the style of Buddha statues and high towers modeled after multi-story wooden pagodas. Chinese metal stupas, however, were generally made using sheet silver, whereas those of Goryeo used a casting method based on the basic skeleton. This was further developed into techniques such as casting parts of the stupa separately before assembly, and casting it in its entirety. Moreover, Chinese metal stupas are made of sheet silver with seated Buddhas depicted in line engravings on the surface, whereas many Goryeo metal stupas feature seated Buddhas in relief or in round on their first stories. Goryeo metal stupas thus became prevalent along with the emergence on a large scale of stupa faith due to Buddhist exchange with the Jiangnan region of China at the time, but developed forms of their own due to being cast according to traditional metal stupa production methods that originated in the Unified Silla Period.

참고자료

· 없음