석불사의 건축 원형

尹在信 新羅文化宣揚會 2000 신라문화제학술발표논문집 Vol.21 No.-

石佛寺 석굴 구조의 原形과 淵源 : 인도·중국 석굴과의 비교를 통하여

裴珍達 新羅文化宣揚會 2000 신라문화제학술발표논문집 Vol.21 No.-

불국사와 석불사의 유기적(有機的) 관계 재검토

송은석 ( Song Unsok ) 미술사와 시각문화학회 2023 미술사와 시각문화 Vol.31 No.-

The Buddha statue at Mahābodhi Temple in Bodhgayā, India, is a monumental one created at the place where Shakyamuni (Śākyamuni) attained enlightenment. It is well known as the model for the Buddha statue at Seokbulsa Monastery in Gyeongju. However, it is not well known that the shape of the building is different. While the Mahābodhi Temple has a square plane and square pyramid shape, the main hall of the Seokbulsa Monastery has a circular and hemispherical plane. I believe that the difference in the appearance of the two buildings is attributed to the different character between the two monasteries. In other words, the Mahābodhi Temple built in the place where Śākyamuni attained enlightenment and the Buddha statue was enshrined inside share the context in which Buddha’s enlightenment was commemorated. However, the Gyeongju Seokbulsa Monastery and the Buddha statue inside the hall do not share the context of commemorating Buddha’s enlightenment. It was a very intentional choice for the founders of Seokbulsa Monastery, who knew the size of the Buddha statue at Mahābodhi Temple through the records of Chinese travelers in the 7th century, to build a semi-spherical building rather than a quadrilateral pyramidal building of Mahābodhi Temple. The Buddha statue at Seokbulsa Monastery in Gyeongju, like the Buddha statue at Mahābodhi Temple in Bodhgayā, has the same background as the event of Buddha's enlightenment. However, the Seokbulsa Monastery, which has a different appearance from the building of Mahābodhi Temple, shows that it does not have the event of Buddha’s enlightenment as the background. I think the reason why Seokbulsa Monastery chose to take the form of the hemispherical building instead of the quadrangular pyramidal building of Mahābodhi Temple is closely related to Bulguksa Monastery, which was built along with Seokbulsa Monastery. The relationship between the two monasteries is in the closely connected but opposite concept of Bulguksa on the ground and Seokbulsa in the heavens. In other words, the building elements of Bulguksa, such as a square plane, south-facing, and wooden building, symbolize the ground and are manifested in the real world with traditional elements of Silla. On the other hand, the architectural elements of Seokbulsa Monastery, such as circular planes, east-facing, and hemispherical stone buildings, symbolize the heavens and embody the traditional elements of India. Bulguksa is very East Asian and Silla-like in that the wooden buildings face south. However, Seokbulsa is non-East Asian or Indian in which the stone building faces east. The people of Silla visualized the real world with the traditional culture of Silla, whereas the heavenly world was represented with the non-Silla culture. And they seemed to think that the non-Silla culture was related to India. The stone statues and heavenly palaces in the steles in the period of the Northern and Southern Dynasties of China represented the Pure Land of Śākyamuni and the Tushita Heaven of Maitreya Bodhisattva, respectively. The relationship between Bulguksa and Seokbulsa is also similar to the structure of these steles. Thus, Bulguksa Monastery is connected to the Pure Land of Śākyamuni on the ground and Seokbulsa Monastery to the Tushita of Maitreya in heaven.

한국문화유산 영어 현장교육, 현안과 대안

김종명(Kim Jong-myung) 한국학중앙연구원 2007 한국학 Vol.30 No.2

만다라도상체계에 의한 석굴암공간체계 분석

김버들(Kim Bue-Dyel),조정식(Cho Jeong-Sik) 대한건축학회 2009 대한건축학회논문집 Vol.25 No.5

Based on the assumption that the space structure of Seokbul-temple is deeply related to the iconographic system of Mandala, this study investigated the relation between Mandala and Seokbul-temple by comprehensively examining the iconographic factors of Mandala and the structural factors of Seokbul-temple. First, Mandala refers to the two-dimensional painting that expresses the doctrine of esoteric Buddhism based on the grid system. It starts from absolute order called grid and embodies various symbologies. Second, Seokbul-temple is composed of two separate Mandalas. Applying the core factors of Mandala, the grid system and symbology, to the overall structure of Seokbul-temple found that the two Mandalas, each of that represents a complete small universe, constitutes a complementary structural system in terms of contrasting relations, such as circle and square, and center and process. Third, in the circle-shaped latter space, the basic icons of Mandala, circles and triangles, form the symmetrical structure with a square being a boundary. At figures' crossing point stand bodhisattvas, disciples of Buddha, and the Bodhisattva of compassion surrounding Sakyamuni. The arrangement of Boddha and bodhisattvas follows the symmetrical, directional, and central features of the iconographic system of Mandala to secure the intensive concentration on Sakyamuni in the center and embody the perfect order of Mandala on earth. Fourth, the former space composed of the rectangle-shaped space and narrow corridor shows the features of separate Madara and the features of process space to central space. The former space with corridor, the square-shaped space based on 8×8 grid and strict module, strongly presents direction to the circle-shaped latter space. Especially, the grid system of Mandala and the Oriental Pythagorean theory of Silla are also applied to the former space, indicating that the constructor's intention to bestow both functionality and symbology to the former space.

토함산석굴의 11면관음보살상 연구

강삼혜 ( Sam Hye Kang ) 한국불교미술사학회 2015 강좌미술사 Vol.44 No.-

Eleven-Headed Avalokitesvara of the Mt. Toham Cave Temple was formed at the most holy place in the main hall with a sacred spring where clear and pure sugared water of Mt. Toham spouts out. This spring is called Yonaejeong (遙乃井) in Gyeongju Chronicle (慶州邑誌. published in 1933) that appears in the myth of King Talhae that became Dongakshin (god of Mt. Toham) after death, which means the cave temple is located at sanctum where an indigenous religion of Silla Kingdom``s indwells. In addition, Eleven-Headed Avalokitesvara is placed where spring water spouts the most, which symbolizes capacity of Avalokitesvara with pure water, the medium of healing and purification. Other than Eleven-Headed Avalokitesvara, where Ten Disciples of Buddha and Brahma holding Kundika are formed is also with spring water, which implies Silla people``s wisdom to consider natural environment as well as icons of the sacred images upon deciding the position of Mt. Toham Cave Temple. Holding a position as important as Sakyamuni for being carved in the highest relief among various Bodhisattva in the main hall, Eleven-Headed Avalokitesvara forms an equilateral triangle with Manjusri and Samantabhadra and this study examines that arrangement of Bodhisattva Triad through scriptures, Samguk-yusa (History Book of the Heritage of the Three Kingdoms) and actual cases of statuary. According to Dharani Sutra, Eleven-Headed Avalokitesvara holds the foremost position of all Bodhisattva and it is very likely that it is formed as Bodhisattva Triad. In Avalokitesvara of Jungsaeng Temple on Samguk-yusa, there is a record inferring animal-shaped thrones which refer to lion throne of Manjusri and elephant throne of Samantabhadra along with Eleven-Headed Avalokitesvara, which this study infers as a record on formation of Bodhisattva Triad. In Samguk-yusa, Eleven-Headed Avalokitesvara is transformed as a Buddhist monk or a nun to relieve people``s suffering while Avalokitesvara or ManjuSri appears as a woman or a grhapati, which means Eleven-Headed Avalokitesvara comes to the world as a Buddhist priest of higher class. Actual cases of Bodhisattva Triad statuary include Tianlongshan Grotto 9, the north side mural of the east wall in Dunhuang Grotto 321, Dunhuang Grotto 334, etc.

석굴암의 돌은 말한다: 석불사 석굴의 건축 평면과 벽면 설계

윤재신 한국건축역사학회 2020 건축역사연구 Vol.29 No.1

The purpose of this paper is to reasonably derive the plan and wall design of Seokbulsa Grotto. The contents of this study are to analyze the architectural forms of the current Seokguram, toexamine the completed architectural forms of the Seokbulsa Grotto, and to reasonably infer theplan and wall design of the Seokbulsa Grotto. Seokbulsa Grotto was designed as 'coherentmodules' and was built by the dry construction method of coordinating 'module parts'. The designprinciples governing Seokbulsa Grotto are the spatial axis of symmetry, modular coordination, andthe plan grid of a quarter Tang-Ruler(TR: 唐尺). The plan design of the Seokbulsa Grotto is inferredas follows. In the main chamber, Ansang-stone’s diameter is 24TR, and Flagstone’s diameter is24.5TR. In the front chamber, the width between the two Ansang-stones facing each other is 22TRand Ansang-stone’s depth is 12TR, while the width between the two Flagstones facing each other is22.5TR and Flagstone’s depth is 12TR. In the passageway, the width between the two Ansang-stones facing each other is 11.5TR and Ansang-stone’s depth is 9TR, while the width between thetwo Flagstones facing each other is 12TR and Flagstone’s depth is 8.75TR. The distance from thecenter of the main chamber to the entrance of the passageway is 10.5TR. Therefore, the totallength in the longitudinal direction in the plan design of Seokbulsa Grotto is 43.5TR at the level ofthe Ansang-stones, and 44TR at the level of the Flagstones. 본 논문의 목적은 석불사 석굴의 평면과 벽면 설계를 합리적으로 도출하려는 것이다. 본 연구의 내용은 현재 석굴암의 건축 형태를 분석하고, 석불사 석굴의 준공된 건축 형태를 점검하여, 석불사 석굴의 평면과 벽면 설계를 합리적으로 추론하는 것이다. 석불사 석굴은 ‘정합적 모듈’로 설계되고, ‘모듈 부품’의 정합으로 건식 시공되었다. 그러나 석불사 석굴은 수리공사의 습식 시공으로 일체화됨으로써, 좌우 대칭이 미세하게 일그러진 석굴암으로 재창조되었다. 석불사 석굴의 설계에서 공간 대칭축은 유지되면서 정합적 모듈 설계가 이루어졌다고 가정했다. 『석굴암 수리공사 보고서』에서 임의로 창안한 허구의 ‘대불상시준선(對佛像視準線)’은 공간 대칭축의 설계 원리를 약화시켰다. 불상판석의 폭은 4당척으로 설계되었다. 주실 안상석의 길이 치수를 분석해 보면, 석불사 석굴의 평면 설계는 1/4당척 단위의 그리드에 바탕을 두고 이루어졌다는 합리적 추론이 가능하다. 석불사 석굴을 지배하는 설계 원리는 ‘공간 대칭축’과 ‘정합적 모듈 설계’ 및 ‘1/4당척 단위의 평면 그리드’이다. 석불사 석굴의 평면 설계를 다음과 같이 추론한다. 주실에서 안상석 직경은 24당척이고, 불상판석 직경은 241/2당척이다. 전실에서 안상석 사이의 폭은 22당척이고, 깊이는 12당척이지만, 불상판석 사이의 폭은 221/2당척이고, 깊이는 12당척이다. 통로에서 안상석 사이의 폭은 111/2당척이고, 깊이는 9당척이지만, 불상판석 사이의 폭은 12당척이고, 깊이는 83/4당척이다. 주실 중심에서 통로 입구까지의 거리는 101/2당척이다. 그러므로 석불사 석굴의 평면 설계에서 종 방향의 전체 길이는 안상석 레벨에서 431/2당척이고, 불상판석 레벨에서 44당척이다.

石佛寺 圖像考

裵珍達(Bae Jin-dal) 미술사연구회 2008 미술사연구 Vol.- No.22

Seokbulsa cave temple has a distinctive meaning that its name “seokbul,”itself refers to the “stone Buddha.”Structure of the Seokbulsa cave temple is distinguished from the Indian and Chinese grottos, that its main sanctuary has a domed ceiling and is round in its plan and that the cave is composed of forty Buddhist images including the main Buddha, bodhisattvas, bhikshus, Four Heavenly Kings, Vajrapanis and Eight Parivaras. The iconographic origin of the main Buddha of Seokbulsa temple goes back to the Buddha of Enlightenment at Mahabodhi Temple in Bodhgaya, India. However, the meaning of the Enlightened Buddha was interpreted anew by Unified Silla Avatamsaka practitioners like Monks Uisang and Pyohun in their view of the concept of the Buddha. They understood that the Enlightened Buddha at Bodhgaya is Sakyamuni, and his preaching just after his enlightenment, while in his Samadhi, was the Avatamsaka sutra. It is, further, perceived that the principal preacher of the Avatamsaka sutra is recognized as the emanated body of “Ten Buddhas.”Therefore, the main Buddha of Seokbulsa cave temple is Sakyamuni as well as the Buddha who preached the teaching of the Avatamsaska sutra at the same time. The main Buddha as symbolic form of Ten Buddhas, ten bodhisattva figures in the upper niches on the walls of the main sancuary, and ten bhikshu images in Seokbulsa cave temple originate from the sutras such as the Sutra of the Past and the Present Karma(過去現在因果經) which describes about the life of Sakyamuni. In other words, when reviewing the life of Sakyamuni, born as Prince Gautama Siddhartha, then an enlightened Buddha, one can realize that the Prince has become the Buddha by passing through the stages of becoming a bhikshu to the bodhisattvahood. Therefore, the composition of bhikshu, bodhisattva, and Buddha in the Seokbulsa cave temple represents the process of Sakyamuni’s practice in achieving Enlightenment. Although these Buddhist figures find their iconographic origins in the journey of the historic Sakyamuni, I came to understand that they were reinterpreted within the belief and the teaching of Avatamsaka in Silla. As they are related to the number “ten,”to which Avatamsaka sutra practitioners of Uisang’s followers had given much attention to the main Buddha Sakyamuni in the context of the concept of the Ten Buddhas in the teaching of the Avatamsaka sutra. The ten bodhisattvas enshrined in the niches above on the wall are likely to be a combination of the images from the Vimalakirti sutra and the concept of eight great bodhisattvas. The eight great bodhisattvas in Seokbulsa cave temple are believed to be derived from the Sutra of the Monadala of Eight Great Bodhisattvas(八大菩薩曼茶羅經). From the perspective of the Mandala, the eight boddhisattvas presently remaining in Seokbulsa cave temple are Vimalakirti(維摩居士), Manjusri(文殊菩薩) from the assembly of the Vimalakirti sutra, and the rest six figures are from the Eight Great Boddhisattvas. It is assumed that the two missing boddhisattvas are Sarvanivaranaviskambhin(除盖障菩薩) and Akasagarbha(虛空藏菩薩). I suggest that, they are placed in the niches in the following clockwise order; Manjusri from the scene of the Vimalakirti debate, Ksitigarbha(地藏菩薩), Avalokitesvara(觀音菩薩), Mitreya(彌勒菩薩) and Akasagarbha (missing). Then passing over the nimbus of the image eleven-headed Avalokitesvara are Samantabhadra(普賢菩薩), Vajarapani Bodhisattva(金剛手菩薩), Manjusri, Sarvanivaranaviskambhin and Vimalakirti. Unlike the majority of the temples of the Unified Silla in the eighth century were constructed on level ground or on the slope of a hill, the Seokbulsa cave temple was built near the summit of the Mt. Toham. And as if to prove that it was modeled after the Buddha of Enlightenment at the Mahabodhi Temple, the sunrise from the east lights up the face of the main Buddha on the day of Sakyamuni’s enlightenment, December 8 in the lunar calendar. The fact that Seokbulsa cave temple faces the easterly direct

石窟庵(石佛寺) 佛像彫刻의 樣式史的 硏究

文明大 新羅文化宣揚會 1985 신라문화제학술발표논문집 Vol.6 No.-

천궁(天宮)으로서의 석굴암(石窟庵)

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.