인도초기불교미술의 佛像觀 = The Concept of Buddha Images in Early Indian Buddhist Art

다국어 초록 (Multilingual Abstract)

If the Buddha"s relics mattered so much as cult objects for early Buddhists in India, as convincingly demonstrated by Gregory Schopen in a series of recent papers, how could the creation of Buddha images have gained as much sanctity, which may not have been equal to that of the relics but which should at least be enough to justify its inception or admission as a valid cult practice? The persistent perception that images are groundless, merely an arbitrary creation, may well have been present among early Buddhists as attested by the discussion of uddesika cetiya in the “Kalingabodhi -j?taka” Naturally there could have been two solutions to this problem: first, depending for sanctity on relics by installing images near the relics or placing relics inside images; second, dispensing with relics but relying on the sacred iconography authenticated through legendary traditions. The second option has been discussed plentifully from the very beginning in the exploration of the origin of the Buddha image, particularly with regard to the formation of special laksnas and the transmission of legendary figures. This paper focuses instead on the first option dealing with the relationship between images, mortal remains and realities. The questions are addressed in three aspects. First, an image type, distinctly from the Sw?t valley, with wide-open eyes directly engaging the viewer could be viewed as a portrait of the dead─the Buddha in this case─which is relatable to the Parthian funerary portraits. It is notable that the Parthian portraits were usually placed inside funerary shrines where the bones of the dead were stored, while the Sw?t images were installed on the walls of st?pas. Second, the Gandh?ran images, which never gained such a dominant position as st?pas within monasteries, were usually enshrined in a series of small chapels surrounding a st?pa court, apparently in a subordinate manner to a st?pa where relics are buried. On occasions the relics seem to have been placed on the top of usn?sa where a small cavity is visible in a number of images. This may be supported by several accounts in Chinese sources that state the presence of a relic on the usn?sa of images that originated in the “West.” Third, the use of the designation pratim? for an image, which appeared in Mathur? during the middle of the Kaniska era and coincides with the transition of an image type from the Kapardin type, seems significant enough in this regard for this may well be interpreted as a change in the concept of images. This paper explores these three aspects, which appear to have been mutually related.

목차 (Table of Contents)

• 「인도 초기불교미술의 불상관」에 대한 질의
• 김리나 선생님의 질의에 대한 답변