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석굴암 주실은 왜 원형당으로 만들어졌을까? ―인도와 연관되었을 가능성에 대하여
김혜원 ( Haewon Kim ) 미술사와 시각문화학회 2023 미술사와 시각문화 Vol.31 No.-
This essay delves into the relation between Seokguram and Buddhist buildings in India based on the assumption that the East Asian Buddhists’ aspiration toward India in the seventh and eighth centuries played an important role in selecting the circular shrine type for the main chamber of Seokguram Grotto. The first part of the essay reexamines previous scholarship on the foreign elements found in Seokguram structure and suggests a possibility that the circular plan of the main chamber is related to the architectural tradition in India, where circular plans were consistently adopted for major religious buildings from the ancient times. The second part deals with the term ‘gandhakuṭī (perfumed chamber),’ a dwelling place for the living Buddha. Its concept is in line with the significant characteristics of the Vajrāsana Buddha image in Bodhgaya, which offered an experience to Buddhist followers as if they are encountering Śākyamuni in person. East Asian Buddhists’ interest in Indian Buddhist architecture including gandhakuṭī is discussed based on the writings and translation works of an influential East Asian pilgrim Yijing (635-713). In addition, the description of gandhakutṭī in Yijing’s writing as a stūpa enshrining a Buddha image is further discussed in relation to the main architectural features of the pilgrimage sites related to Śākyamuni Buddha including Bodhgaya, which are referred to as ta or tap in the writings of Faxian (337?-429), Wang Xuance (fl. 7th century), and Hyecho (700 or 704-780). The essay concludes that the inspiration behind selecting the circular plan for the Seokguram main hall was Indian stūpas, many of which were built on circular plans.
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남동신 ( Dong Sin Nam ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-
Seokkuram(Seokkuram石窟庵), located on the eastern summit of Mt. Toham near Gyeongju, is a Buddhist shrine in the form of a stone grotto, absolutely unique in East Asian history. The author, viewing Seokkuram not as human-centered but rather a spiritual space, analyzes its uniqueness in light of the fundamental principles of who, what, where, why, when, and how. Methodologically, the paper reinterprets the oldest surviving document concerning Seokkuram found in the Samguk yusa (Memorabilia of the Three Kingdoms) from a fresh perspective, and thereby seeks to adduce a new paradigm for research on Seokkuram. Concerning the establishment of Seokkuram, the factual basis of some of the basic questions have already been adequately answered: “who”?Prime Minister Kim Daeseong; “when” the mid-8th century; “where”?in Gyeongju on the eastern summit of Mt. Toham. The first chapter surveys the results of past scholarship, supplementing them in places with the author`s personal views. Continuing with a discussion of the question of “why”, the author analyzes in depth the phrase: “... construct [this] stone Buddhist shrine for [my]departed parents of [a] former generation.” That is, the author notes that the conceptual basis underlying the establishment of Seokkuram incorporated a union of a concern for public good (功德思想) blended with that of filial piety (孝). While such a union had a precedent in Indian Buddhism, the author points out that it was further strengthened within Chinese Buddhism. Accordingly it may be understood as part of the Chinese adaptation of Buddhism. This work places greatest emphasis on Chapter 2, in which the issue of “what was this entity we know as Seokkuram?” is addressed. In fact, the name of Seokkuram (石窟庵) and its prior version, Seokpulsa (Seokpulsa石佛寺), are merely superficial appellations, but up to the present there has been almost no discussion of their true nature or character. The author accords strong significance to a reference to “heavenly palace” (天宮) found in adocument on Buddhist religious teachings, deriving from the first chief monk of Seokpulsa, and sets forth his view that Seokkuram was created by Kim Daeseong as a spiritual space, more specifically as a heavenly palace in which dwelled Indra, ruler of the Trayastrimsa, or Thirty-three Heavens. Last, Chapter 3 concerns itself with ‘how’. Using “heavenly palace” as a central conceptual paradigm, the paper examines the special features of Seokkuram: its location on a mountaintop over a sacred spring, its orientation, its use of stones, and the rotunda of the domed roof. Using these features?which prior scholarship either did not notice, misunderstood, or discussed only partially?a reinterpretation is provided and thereby, at last, it may be said that Seokkuram in its original form is recovered, as created by Kim Daeseong to be in full accord with the countenance of a heavenly palace.
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