불교미술 속에 표현된 석가모니의 열반 -열반의 가시화(可視化)와 이상화(理想化)-

다국어 초록 (Multilingual Abstract)

This study discussed how Sakyamuni’s Nirvana after his death was configured and expressed. Just after Sakyamuni’s Nirvana, his Nirvana began to be expressed using symbolic objects such as stupa and bodhidruma(菩提樹) in India, and with the appearance of Buddhist statues from the late 1st century, the scene of Sakyamuni’s Nirvana began to be expressed as a part of stupa reliefs. Nirvana art was transmitted to the Central Asia through the Silk Road, and then further to China and Korea as well. In Korea, art works on the theme of Nirvana were created after the import of Nirvana Sutra (涅槃經) from the Yang Dynasty, one of the Southern Dynasties, in the 19th year of King Seong of the Baekje Dynasty (541). During the Goryeo Dynasty, the Nirvana scene was expressed as painting or relief in art works such as Anyang-sa Temple Seven-story Brick Pagoda, Gyeongcheon-sa Temple Pagoda (1348), and Bohyeopin Stupa (寶협印塔), and there are also an extant relics that described the Nirvana scene through etching on a gilt-bronze plate. These show that art works on the theme of Sakyamuni’s Nirvana were popular in those days. In the Joseon Dynasty, the scene of Sakyamuni’s Nirvana was iconized in the Great Nirvana in the Sala Grove (雙林涅槃相), which describes the last scene of Sakyamuni’s life. While Seokbosangjeol (釋譜詳節) was used as the main text in the early period of the Joseon Dynasty, Seokssiwonryueunghwasajeok (釋氏源流應化事蹟) was used as the main text in the late period. Lastly, the enshrinement of sharira on Buddhist paintings is another representation of Nirvana.