金大城의 佛國寺 造營과 그 經濟的 背景

朴南守 新羅文化宣揚會 1997 신라문화제학술발표논문집 Vol.18 No.-

신라인물 김대성의 원형과 스토리텔링 창작

이창식,강석근 동국대학교 신라문화연구소 2011 신라문화 Vol.37 No.-

This study suggests the orginal form of Kimdaeseong and one model of storytelling creation. Bulguksa and Seokgulam is the masterpiece which compromise a extreme mercy of Budda and every culture. Kimdaeseong compromised these culture and made Silla Dynasty to cultural Renaissance. This study verified Kimdaeseong from a cultural point, also suggested a need for culture contents as OSMU(One Source Multi Use). In addition, this study tried to compromise Bulguksa and Seokgulam with IT technology, and suggest Kimdaeseong's mythical imagination as two synopsis, 'Bulguksa and Seokgulam story' and 'Asadal and Asanyeo story'. Kimdaeseong was a great cultural planner and true artish who realized Silla people's religious desire. Therefore, a culture content about him have a powerful latent ability than the soap opera of Jumong, Jangbogo, Seondeok-yeowang. So this paper suggested powerfully the necessity of a study about the orginal form of Kimdaeseong and a outstanding creation of Kimdaeseong storytelling. If these suggestions are well accepted, Gyeongju can develop the secondary Gyeongju Culture Expo. Also marketing of modern storytelling about Silla traditons can begin in earnest.

표훈(表訓)의 일승세계론(一乘世界論)과 불국사 · 석굴암

최연식(Choe, Yeon-Shik) 동국대학교 불교문화연구원 2015 佛敎學報 Vol.0 No.70

수도에서 멀리 떨어진 부석사와 인근 지역에서 개인적 수행에 집중하던 의상계 화엄학파는 8세기 중엽 이후 수도에서도 활발하게 활약하면서 불교계의 중심적 흐름으로 등장하였다. 그러한 변화의 중심에는 경주의 황복사에서 스승 의상의 화엄사상을 구체화하여 설법했던 표훈의 활동이 있었던 것으로 보인다. 의상은 부처가 해인삼매에서 깨달은 진리가 보현보살을 통하여 온전하게 드러난 것이 『화엄경』인데, 그것은 일상적 언어가 아니라 법계연기적 언어로 표현되었으므로, 수행자들은 명상을 통하여 법계연기적 언어를 온전하게 이해하는 능력을 기르고 이를 통해 『화엄경』을 제대로 이해하여 깨달음에 이르라는 가르침을 제시하였다. 표훈은 이러한 스승의 가르침을 보다 구체적이고 체계적으로 정리한 일승세계설을 제시하였다. 즉 부처의 깨달음의 경지, 수행자의 인식의 발전과정, 부처의 깨달음과 수행자의 인식의 경지에 대응되는 불국토의 모습들을 계기적으로 구분하는 5중해인 · 5중관 · 5중불국토의 이론을 제시하고 이들을 종합화 하였다. 이러한 일승세계설은 의상계의 화엄사상이 불교계는 물론 일반인들에게도 더욱 쉽게 다가갈 수 있게 하는 기능을 하였을 것으로 생각된다. 일찍이 표훈에게서 화엄을 배웠던 김대성은 토함산에 표훈의 일승세계설에 입각한 새로운 형태의 사찰을 만들고 그곳을 표훈과 의상계 화엄학자들을 위한 거점 사찰로 제공하였다. 표훈이 제시한 5중해인 · 5중관 · 5중불국토 등은 크게 부처의 영역과 보현의 영역으로 구분되는데, 토함산정에 위치한 석굴암(석불사)과 산기슭에 자리잡은 불국사는 각기 부처의 영역과 보현의 영역을 표현한 것이었다. 부처의 정각 직후의 모습을 형상화한 석굴암의 본존은 5중해인 중 부처의 삼매인 3본정을 상징하는 경전의 내용을 형상화한 것이었고, 다양한 불국토와 이상세계의 모습으로 장식한 불국사는 5중불국토중 보현의 영역인 (연)화장세계를 묘사한 것으로 볼 수 있다. 김대성은 이처럼 일승세계관을 구체적으로 표현한 석굴암과 불국사를 건립함으로써 토함산을 일승의 세계로 만들고자 하였던 것으로 보이는데, 그 정치, 사회적 배경에 대해서는 향후 보다 자세히 검토될 필요가 있다. In the middle of the eighth century, the Uisang school, which had been based at and around the remote Buseok-sa temple and concentrated on individual practices, moved to the capital and became one of the influential streams of Shilla Buddhism. The central figure of this was Pyohun, who lived at the Hwangbok-sa temple in the capital and tried to preach his master Uisang Huayan’s thought to people other than his original disciples. Pyohun suggested the one vehicle world theory consisted of the five ocean seal[s?garamudr?] Samadhis, five understandings (of the real world), and five Buddha lands. This was a systematic expatiation on Uisang’s Huayan thought, especially his theory of the practitioner’s realization of ocean seal Samadhi, and it must have helped the monks and common people to understand Uisang’s thought. Kim Dae-seong, who had learned Huayan thought from Pyohun, built Bulguk-sa temple and Seokkuram cave in Toham mountain and offered them to Pyohun and other disciples of Uisang as their bases in the capital. The unprecedented style of these temples reflects Pyohun’s one vehicle world theory. The five Samadhi, understanding, and Buddha lands of the theory are divided into Buddha’s sphere and Puxian[Samantabhadra] Bodhisattva. The Seokkuram cave and the Bulguk-sa temple are the materialization of the Buddha’s and Puxian Bodhisattva’s spheres respectively. The main Buddha of the Seokkuram cave is the materialization of the three innermost out of the five ocean seal samadhis, and the Bulguk-sa temple is the realization of the Lotus Treasury world, the outmost of the five Buddha lands. According to Pyohun’s theory, Kim Dae-seong seems to have wanted to realize the one vehicle world in Toham mountain. The political and social backgrounds of his project will be investigated in depth.

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.

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.

불국사창건설화(佛國寺創建說話) 연구(硏究)

전관수 ( Kwan Su Jeon ) 연세대학교 국학연구원 2010 동방학지 Vol.151 No.-

회원작품

대한건축사협회,Korea Institute of Registered Architects 대한건축사협회 1973 建築士 Vol.1973 No.11

깨어진 석굴암의 천개석

김기흥(Kim Ki-heung) 한국역사연구회 2009 역사와 현실 Vol.- No.74

The Cheon’gae-seok/天蓋石 stone, which is placed almost like a cover stone at the center of the ceiling of the Seokgul-am dome, is cracked and therefore feature three portions. According to the tales featured inside Samguk Yusa, which mention the construction of Seokgul-am, the stone which was to be lifted and used as the ceiling stone was cracked in mid-construction, yet while Kim Dae Seong, chief supervisor of the Seokgul-am construction, was in sleep, a god of heaven came and lifted the cracked stone to the ceiling. Many researchers estimate that the stone should be around 2.5 meters in diameter, and weighs roughly 20 tons, and they are most interested to find out how such a large stone, and not to mention in a cracked status, could have been positioned at the center of a dome's ceiling. They have been in search for the technique which would have enabled such positioning, and they are anxious to know the reason why the stone was not replaced with another stone that was not cracked. Some people believe that it was the technicians who lifted the cracked stone while Kim Dae Seong was asleep, yet Kim did not oppose it and have it removed because he also dreamt of a god of heaven visiting and lifting the stone. Other people present another possibility that a wise intellect, described in the tale as a god from heaven, might have argued that the fact the stone was cracked in mid-transport symbolized the really difficult nature of unifying the three dynasties, and that person might also have suggested that the stone be used without being replaced. And others simply believe that the Shilla technicians as a habit did not conclude their job very cleanly, and were actually content to place a cracked stone at the ceiling. Such previous opinions were based upon a belief that the tale was containing historical truth, and in that regard they are all misguided. Tales in nature, are told by people who would like to determine the causes to a certain condition of a vestige or an artifact, and then simply decide to come up with theories based upon evidences that they did not actually witness with their own eyes. A god of heaven could not have lifted that stone, so we can safely come to the conclusion that this tale is quite evidently not based upon an eye-witness account to the actual construction process. It is a mere speculation accumulated by people who gathered at Seokgul-am, happening to be talking about how such a heavy stone piece would have been placed at the center of a dome's ceiling. Rational presumptions can be made. The major earthquake that hit the Gyeongju area in 779, or the major flooding that engulfed the Eastern region of Shilla in 797, two catastrophes that took place only a few years or one or two decades after the construction of Seokgul-am was complete, could have been the reason for the crack. The stone was at the center of the dome's ceiling, so it was very much vulnerable to being damaged by either the shockwave from a quake, or simply the additional weight of accumulated dust piled upon the ceiling. People of the past who visited the grand beauty that was Seokgul-am, would have been in awe of the sheer magnificence of all the Buddhist images and not to mention the internal structure of Seokgul-am itself, so some of them were bound to interpret the cracks in the ceiling as a result of some intentional designing, and to create stories of their own, containing mystical properties. The approach featured in this article could contribute to future tasks dedicated to determining the validity of tale materials, and not to mention raising the level of public understanding of the internal structure of Seokgul-am, one of the proud legacies of the Korean people even acknowledged from global standards. The unfair evaluation of the Shilla technicians could also be corrected.

『삼국유사』 효선편을 읽는 잣대

신종원(Jong-won Shin) 운곡학회 2022 운곡논총 Vol.12 No.-

불국사(佛國寺) 제영시(題詠詩) 연구

강석근 ( Seog Keun Kang ) 온지학회 2011 온지논총 Vol.- No.28

This study is for a literary traits of Chinese poetry about Bul-guk-sa temple. There are a few typical documents about Bul-guk-sa temple. They can be classfied into four groups. First. There are a record about Bul-guk-sa temple in a three poems to praise Budda of Choi Chi-won. Second record is in Sam-guk-you-sa. Third is in Go-geum-chang-gi which arranged the history of Bul-guk-sa temple in the late of Chosun dynasty. The last, many poets of Chosun recited about Bul-guk-sa temple. The poems of Choi Chi-won supply a valuable information about Bul-guk-sa tmeple. We can find the poems about praising Budda in Sam-guk-yu-sa, which arrange the establishment process of Bul-guk-sa temple and the life of Kim Dae-sung. Kim Si-seup and Lee Man-bu wrote poems about Bul-guk-sa temple with Confucian scholar`s perspective, they criticized excessive construction. There are many poems which recited Bul-guk-sa, However, Buddhist monk Cho-ui Ui-soon`s nine poems <Bul-guk-sa Hui-go> are most outstanding works. He dealt Bul-guk-sa temple with many aspects like the legend of Mu-young-tap and King Hun-gang. Chu-sa Kim Jung-hi respond for Ui-soon with poems, which show a literary exchange and friendship with Buddhist and Confucian.