아시아 地域 現行 架裟 樣態 硏究 = Study on attitudes and style of current kasaya in Asian region

다국어 초록 (Multilingual Abstract)

This paper examined the style of Kasaya of each country in Asia and divided them into the following categories. In detail, the Kasaya ceremony, Kasaya tiedown method, material of Kasaya, color of Kasaya, structure and sewing patterns of Kasaya, the number of inches of Kasaya, designs of Kasaya and so on were comparatively analyzed.
The style of Kasaya differs according to the objective of practice and therefore can be divided into Southern Buddhism, which represents Original Buddhism, Northern Buddhist Countries and Tibetan Buddhist Countries. Southern Buddhism wears a style of Kasaya founded on the Pali Vinayapitaka. During the Kasaya ceremony, the Kathina ceremony is performed. The material is mostly made of cotton and the color is a yellow hue. In terms of the structure, the Jos(條), Jang(長), and Dan(短) are not constant. In terms of the Cheop, there is nothing outside of the Cheop that has a ring and a string. When one looks at the sewing patterns, there is no difference in the inner face and outer face of the Sungkari(samghati) and there is no Tongmun. In terms of the number of inches, it is generally no larger than the ones from Northern Buddhist countries. In Northern Buddhist countries, the brilliant design of the tiedown or ornament in Sung China remains today, with the string, loop and ring, knot and ring and so on showing diversity. There is a difference in the inner face and outer face of the sewing patterns.
The Kasaya of Tibetan Buddhist countries show a difference in the structure and sewing patterns when compared with those of other Buddhist countries: This is especially the case in terms of the 4 corners of the Kasaya in which there are 2 triangular cloths for each. As well, the whole of the Yeop(葉) is raised.
Secondly, the Kasayas of northern Buddhist countries differs according to the particular Buddhist sect. The number of Jos of the Kasaya of Son(Zen) sects are high and the structure is designed in accordance with Kup'um(nine classes) thought. The color is mainly of vandyke brown hue and red. In contrast, for the doctrinal order, the number of Jos of the Kasaya are low and the number of inches of its structure are not constant. The color is of red, violet, and brown hue. The Kasaya color of Northern Buddhist countries reached splendid proportions after having been influenced by the clothes of government officials of Tang China.
Thirdly, the Kasaya of the different countries show distinct characteristics. The Southern Buddhist countries do not differ greatly between themselves. Among those countries, the distinct characteristic of Myanmar lies in the fact that its Sungkari is 15 Jos and 105 Jos. And its number of inches coincide with the Pali Vinayapitaka(律藏). In Cambodia, monks wear the Nirvana robe instead of the Antahwe(antarav sa) for their summer clothing. Of the Northern Buddhist countries, Taiwan's Kasaya is symmetrical, centering around the middle Jo and its distinct feature lies in the fact that the Yeop is raised halfway. In Korea, during the Kasaya Jeoman(點眼) ceremony, the Kasaya is raised to the status of the Buddha statue and a ceremony acknowledging the importance of the Kasaya is performed. The common denominator of Korean Kasaya, excluding the Nakja(絡子) of the Jingak Order, is its symmetry centered on the middle Jo. There is a Cheop and a Tongmun. If we look at the various Buddhist orders, the Kasaya of the Chogye Order are overall grey with a red ochre color to it, which is founded on the Vinayapitaka. In terms of the sewing patterns, as the traditional Kasaya were passed down over the generations, on the one hand, sewing was done on a sewing machine and only one part of the Tongmun was made, in accordance with the times. The feature of the lotus knot of the tiedown ornament is unique to the Chogye Order of Korean Buddhism. The common feature between the Kasaya of the Taego Order and Ch'ontae Order is that both continued wearing the Korean traditional Kasaya and made Tongmun all over their Kasaya in the fashion of Kisan Sunim's Kasaya in late Kuhan(Imperial Korea) and took into consideration sanitary cotton. Also, in the Cheop are designs of Cheon(天) and of the king. Other designs include om, a bird with three feet, and a rabbit. The 25 Jos Kasaya of the Taego Order and Ch'ontae Order were imitated after the Kasaya of National Teacher Taegak of the Koryo dynasty, and Buddha·Bodhisattva·Sutras were embroidered on it. Only the Kasaya design of the Ch'ontae Order has the three blue-colored lines, Vajra and so on, which represent the order's flag. The Kasaya of the Chingak Order is the Nakja and have the designs of Wheel of Dharma(法輪), om, and hum. The Japanese Kasaya has a Cheop, the sewing patterns is hand-sewed and the stitching cannot be seen on the outer face. The design are woven on, and in this case, a crane and a tri-Taeguk(三太極).
The following is a detailed explanation of the differences of Kasaya styles of each country.
1. In the case of the Kasaya ceremony, the Kathina ceremony from the Vinayapitaka are still being performed in Southern Buddhist countries. The Kathina ceremony is performed because a set of clothes is needed to meet the activities of monks upon completion of the rain retreat. In Northern Buddhist countries, Taiwan and Korea carry out Kasaya rituals, although Taiwan only performs these rituals during the Precepts(Vinaya) ceremony. In Taiwan, it is believed that entering the monkhood represents an important opportunity to guide sentient beings and thus, the Kasaya ritual is a way for lay people to congratulate another's entrance into monkhood and to receive good fortune for themselves. In Korea, after the Buddhist Kasaya ritual is performed, the Kasaya Jeoman ceremony is carried out during the time of reflection and repentance. In Korea, because the Kasaya symbolizes the Buddhadharma, the Jeoman ceremony is performed to add life into the Kasaya, which is made merely of cloth. There is no Kasaya ceremony in Tibetan Buddhist countries.
Therefore it was examined that the Kasaya and the monks that wear these Kasaya were gradually given divine status according to the sequential transmission of Buddhism and the passing of time. It can be seen that the Kasaya ceremony underwent a transformation in accordance with Mahayana Buddhist thought, which stressed the guidance of sentient beings, as it was being transmitted from the south to the north. Also, as the usage of Kasaya changed from practical clothing to majestic ones, we can see that there was a point wherein the importance of the Kasaya was elevated as a means to symbolize the Buddhadharma, and this exemplifies Mahayana Buddhism's emancipation from extreme theoretical tendencies and widened their horizons to embrace diverse cultures.
2. In terms of the different categories and tiedown method of the Kasaya, first, in terms of the category of Kasayas, the Kasaya of Southern Buddhist countries, with the exception of Myanmar, are made up of 5 Jos. This is because during the Kathina ceremony, they receive kongyang(供養) made up of 5 Jos. In terms of Northern Buddhist countries, the Jos are high and constant in Korea and Taiwan, which are mainly Son Buddhist countries. On the other hand, the Kasayas of Japan, which are mainly composed of doctrinal sects, the Jos are low. It is my opinion that Kup'um(nine classes) that are higher than 9 Jos can be found in Son sects. Thus, the reason why there are a lot of Jos in the Kasaya of Myanmar is because the country was influenced by the Son sect, a sect of Mahayana Buddhism, before Original Buddhism was established in the 11th century in Myanmar.
In terms of the tiedown method of the Kasaya, the Southern Buddhist and Tibetan Buddhist countries cover their left shoulder or both shoulders, according to the circumstances. Northern Buddhist countries only cover their left shoulder and make use of tiedown ornaments. The cause of this is due to its cold climate. Because revealing the shoulder area is the custom for criminals, clothing is worn underneath the Kasaya and the left shoulder is covered. The tiedown ornament is needed because there is the concern that the Kasaya might slip off the body.
3. In terms of the material of the Kasaya, the countries who were examined all relatively follow the Vinayapitaka and as each country produce a lot of these materials, the Kasaya made use of easily accessible material.
4. In terms of color, the Southern Buddhist countries are founded on the Pali Vinayapitaka and originated from digging up dye-stuff from feces and yellow dirt at the beginning of the history of Kasaya, and a yellow hue is used. The colors of each sect in Northern Buddhist countries differ, and the vandyke brown Kasaya of Taiwan, a Seon order, is quite similar to the red ochere, and its red color is similar with the Taego order of Korea. Korea's Ch'ontae order and Japan's Pophwa order, which are part of the Ch'ontae lineage, have similar colors of red, brown, and violet. In Tibetan Buddhist countries, they are made up of red and yellow color. Therefore we can see that the color of Kasaya differ, not according to the country, but according to the purpose of practice and the sect in question. Also, Korea's Chontae and Chingak orders, and Japan represent the Dharma world through the color of the Kasaya.
5. When looking at the structure of the Kasaya, while the Jang and Dan are not constant in Southern Buddhist countries, in Northern Buddhist countries, the Jang and Dan are constant. Kasaya with the Jang and Dan and without the Jang and Dan are mixed in Tibetan Buddhist countries. This is because in Southern Buddhist countries, in the Pali Vinayapitaka, there are only the Jos, and no mention is made of the Jang and Dan. Therefore it is my opinion that the Jang and Dan were formed when Buddhism was transmitted to China.
In the case of sewing patterns, the difference in the inner face and outer face is that, the Sungkari of Southern Buddhist countries through the lined Kasaya can be worn inside out, and therefore the Sungkari is not only a set of daily clothes but also can be worn as bed-clothes. The inner face and outer face are distinguishable in Northern Buddhist and Tibetan Buddhist countries. This is because the Kasaya is only used for ceremonial purposes, and not daily clothing. In terms of the Yeop in Southern Buddhist countries, the Yeop is sewed on so that it is not raised. Of the Northern Buddhist countries such as Taiwan and Korea, the Yeop is raised halfway. The Yeop of the Kasaya in Tibetan Buddhist countries are wholly raised. In terms of the direction of the sewing patterns in Southern Buddist countries, the sewing patterns are without any fixed regulations. In Northern Buddhist countries such as Taiwan and Korea, they are symmetrically centered on the middle Jo. As well, in Tibetan Buddhist countries, the symmetry is 7 Jos and 23 Jos, where the Jos and Jang and Dan are together. In terms of the method of sewing patterns of Northern Buddhist countries, Korea's Taego Order and Ch'ontae Order and Japan are hand-sewed. The distinctive characteristic of Japan is that the stitches cannot be seen from the outer face. The Tongmun can only be seen in Korea and the whole of the Tongmun are found in Korea's Taego and Ch'ontae order, while the Tongmun exists only partially in the Chogye order. The Nakja of Korea s Chingak order does not have a Tongmun.
6. In terms of the number of inches of the Kasaya in Southern Buddhist countries, Myanmar makes Kasaya using almost the exact same number of inches as described in the Pali Vinayapitaka. The Northern Buddhist countries and the Tibetan Buddhist countries show flexibility as they produce and wear Kasaya in accord with their physique.
7. In terms of design, Southern Buddhist countries and Tibetan Buddhist countries do not have design on their Kasaya. Of the Northern Buddhist countries, none can be seen in Taiwanese Kasaya, only in Korea and Japan. In terms of design, Korea has embroidered Cheon(天), a king, om, a bird with three feet, rabbit, dragon, three blue-colored lines, Vajra, wheel of dharma, hum, and so on. In Japan, embroidered are the designs of a crane and tri-Taeguk. In examining the form of the designs, the rabbit appears in India and ancient China and the lotus flower can be discovered in Egypt, Greece Mesopatamia. The Vajra was the possession of Indra, the god of war in India, and thus we can see that it received a lot of influence from India. Hence, it can be said that Mahayana Buddhism fused together with many cultures. While in Korea, the symbolism of the designs represent Shakyamuni Buddha himself, in Japan, the symbolism represent one' s wishes in the secular world. That is to say, the designs reflect the Buddhist peculiarities of each country.
In this way, it has been examined that the classification of Kasaya is divided according to the aim of the spiritual practice rather than according to the particular country. This is because, since the Kasaya includes the Buddhist concept of being an expedient for saving sentient beings by becoming liberated from suffering(苦) and were made based on such a concept, the Kasaya first changed due to the importance that Buddhist philosophy places on the spiritual training of monks. After this point, as Buddhism came to China and sectarian Buddhism appeared, what was emphasized and trying to be expressed changed according to the essence(宗旨) of each sect, and therefore a new design was required. In Korea and Japan, as sectarian Buddhism became established in China, the Kasaya were received exactly in their original form according to the sect. While the general dress and ornaments received influence from society, economy, politics, and the cultural environment, we can see that the design of the Kasaya changed according to what was being emphasized conceptually.
Hence, future research on Kasaya will involve understanding of the philosophy behind the Kasaya. In order to achieve this, research must strive to understand the meaning behind the Kasaya based on deep research concerning the Kasaya meal ceremony of the past and present. As well, the writer enthusiastically anticipates detailed research comparing the sewing patterns methods of each of the countries in the Asian region, something which has not been tackled in this paper.

목차 (Table of Contents)

• I. 序論 = 1
• II. 袈裟成立의 理論的 背景 = 3
• 1. 根本佛敎와 大乘佛敎의 思想 = 3
• 1) 根本佛敎와 大乘佛敎의 差異點 = 3
• 2) 根本戒律과 大乘戒律의 差異點 = 3
• 2. 袈裟에 나타난 佛敎思想 = 4
• 1) 袈裟의 種類 및 着衣에 나타난 思想 = 5
• 2) 素材에 나타난 思想 = 6
• 3) 色에 나타난 思想 = 7
• 4) 構造와 縫製에 나타난 思想 = 8
• 5) 치수에 나타난 思想 = 13
• 3. 袈裟의 變遷 = 13
• 1) 律藏에 있어서 袈裟의 變遷 = 13
• 2) 南方佛敎國家 = 17
• 3) 北方佛敎國家 = 18
• 4) 티베트佛敎 國家 = 23
• 4. 아시아 各國의 佛敎 傳播 = 23
• 1) 南方佛敎國家 = 24
• 2) 北方佛敎國家 = 26
• 3) 티베트佛敎 國家 = 34
• III. 아시아 地域 袈裟着用 現況 및 比較 = 37
• 1. 袈裟供養儀式 = 37
• 1) 南方佛敎國家 = 37
• 2) 北方佛敎國家 = 39
• 3) 티베트佛敎國家 = 42
• 4) 各國의 比較 = 43
• 2. 袈裟의 種類 및 着裝法 = 44
• 1) 南方佛敎國家 = 44
• 2) 北方佛敎國家 = 46
• 3) 티베트佛敎國家 = 50
• 4) 各國의 比較 = 51
• 3. 袈裟의 素材 = 53
• 1) 南方佛敎國家 = 53
• 2) 北方佛敎國家 = 54
• 3) 티베트佛敎國家 = 55
• 4) 各國의 比較 = 56
• 4. 色 = 56
• 1) 南方佛敎國家 = 56
• 2) 北方佛敎國家 = 57
• 3) 티베트佛敎國家 = 60
• 4) 各國의 比較 = 60
• 5. 構造와 縫製 = 61
• 1) 南方佛敎國家 = 61
• 2) 北方佛敎國家 = 65
• 3) 티베트佛敎國家 = 73
• 4) 各國의 比較 = 73
• 6. 치수 = 76
• 1) 南方佛敎國家 = 76
• 2) 北方佛敎國家 = 78
• 3) 티베트佛敎國家 = 81
• 4) 各國의 比較 = 82
• 7. 袈裟의 紋樣 = 83
• 1) 南方佛敎國家 = 83
• 2) 北方佛敎國家 = 83
• 3) 티베트佛敎國家 = 88
• 4) 各國의 比較 = 88
• IV. 結論 = 91
• 附表 및 사진 = 97
• 참고문헌 = 111
• Abstract = 115