羅末麗初 僧塔 塔身 神將像 硏究

다국어 초록 (Multilingual Abstract)

The leading representative guardian gods of Buddhism such as Indra(梵. 帝釋), Brahma￣(梵. 梵天), Catvasrahmaha-rajikah(梵. 四天王) were carved on the most of externals of monk-scupas僧塔 which were made for zen masters' sari-stupas舍利塔 during the transitional period between late Silla and early Koryo. As I researched base on the survived twenty monk-stupas built in the transitional period between the middle of 9th century and the 11th century I can claim that the increased numbers of guardian gods on the externals were mainly caused by the flourishing of zen buddhism in this era. Because the appearance of these figures on sari-stupas identifies that the status of zen masters was same as Buddha's since the role for guardian gods were protecting Buddha and buddhism dharma. Also there is a reason to believe that portraying the guardian gods on zen masters' sari-stupas by intention was accomplishing to exalt them to the high spirits in a way since Indra among the guardian god was worshiped by king's family after closely related to a sovereign power and legitimated the accession to the throne.
The first appearance of the guardian god, Catvasrahmaha-rajikah which means four heavenly kings, on the monk-stupa was Yumguwhasang-stupa(廉居和尙塔, possession of The National Central Museum) made in 844. I am noticed that the icon of Viru￣pa￣ks.a(梵. 毘樓博叉, 廣目天像) among the four figures on Yumguwhasang-stupa and Yusang(酉像, fowl), one of Twelve Heavenly Genrals 十二支神像, carved on Nengji-stupa陵旨塔 in Kyungjoo that presumed to be built in the late 8th century were just alike. The remarkable long sleeves under the armour were olny expressed on both Four Heavenly Kings of monk-stupa and Twelve Heavenly Genrals, not expressed neither on Four Heavenly Kings of stupas, sariki舍利器, nor stone-lamp石燈. Thus it is recognizable that Four Heavenly Kings was made after the model of Twelve Heavenly Genrals that belonged to king's family in the 8th century. From this we can infer that a mason who constructed a king's grave might constructed the monk-stupa under the patronage of king's family. The possibility of this induction is not only based on modeling but on the epitaphs made by monks because on them the examples how king's family supported the zen masters and zen buddhism were inscribed.
The epitaphs are very helpul for figuring out when those guardian gods were made in since both the day each zen master's death and the day epitaph was built were recorded. Hence, these guardian gods are very important historical sources in order to dig into styles of late Silla, post-Triparted Kingdoms, and early Koryo since those were made during the period between late Silla and early Koryo.
The distinction between the styles of the concerning era can be made as following:
First, the proportion and their volumns of guardian gods made during the first period(about 844-860) were remarkably ideal and same time the bodies shaped like a bow posed various pliable gestures. These seemed to be influenced mainly by the particular style of Twelve Heavenly Genrals during the period between the late 8ch century and the early 9th century while the style lasted till early 860's. And the tendency of making the bodies of figures longer than before originated in the guardian gods on Jukinsunsa-stupa(寂忍禪師塔, 861) in Jaian-temple泰安寺 continued to the second period(about 860-890). During this period as we can find on Chulgamsunsa-stupa(澈鑒禪師塔, 868) in Sanbong-temple雙峰寺, Bojosunsa-stupa(普照禪師塔, 880) in Bolim-temple寶林寺, and Eastern-stupa in Yungok-temple□谷寺 the volumn has transformed into flatten and the relief has became positively decorative. The parallel massing stair-type crumple seen on the sleeves of Vairocana Buddha毘盧遮那佛(867, buddhist statue made of stone) in Chooksu-temple□棲寺 comparable to the taped crumple armour on Chulgamsunsa-stupa in Sangbong-temple. The decorative tendency such as a small face and decorative flowers on the bottom of robe大衣 was more distinguished in the similar type of Chulgamsunsa-stupa in Sanbong-temple. The style of somewhat remained volumn on the guardian gods of Jijoongdaesa-stupa(智證大師塔, 883) in Bongam-temple鳳巖寺 within the general tendency of decoration has been known as the style of post-Triparted Kingdoms, and hence during the third period(the era of post-Triparted Kingdoms, about 890-960) the figure has became a proportional short stature type with chubby volumns of face and body. And most of guardian gods' faces those belonged to the third period were bigger than before since the size of face has begun to grow bigger from the guardian gods on Soochulwhasang-stupa(秀澈和尙塔, about 893). A proportion of body based on the short stature type appeared in this period was one style of the era of post-Triparted Kingdoms as seen on Three Authorized Images三尊佛 in Gaetai-temple開泰寺 which was built in 940 under the instruction of Wanggun王建, the first king also the tendency of making face, hand and foot bigger identifies the style of the era. Though the volumns of round and slender shaped body of short stature type were exaggerated during the fourth period(970-the early 11th century), or early Koryo, up to the time when the guardian gods on Wongongkooksa-stupa(圓空國師塔, 1018-1025) was built in Gudon-temple居頓寺 such the unstable volumns were diminished as the refined and calm technique for low relief was appeared and as a result of this the volumns of figure were extremely limited while new expressive style chat volumns were inclining toward one side was created. Because of this style can be seen on many stupas included the Eight kinds of beings八部衆 of a stone Gaesimsaji開心寺址-stupa, a very fine piece of prose written in 1010, in Yechun it could be fixed as a style of Koryo. And by contrast with the melancholy faces depicted on the guardian gods of Jukinsunsa-stupa, Jenggakdaesa-stupa, Bojosunsa-stupa in late Silla both eager anticipation for new era and quickening of new style are to be felt from the brightly smiling faces of guardian gods of Soochulwhasang-stupa(about 893) and Kwangjadaesa-stupa(945-950). Geographically art of late Silla has influenced on the regions of Honam湖南 and during the periods of both post-Triparted Kingdoms and early Koryo influenced on the regions of middle part of peninsula of Korea. As concerned the historical evidences the style for guardian gods made in the period between late Silla and early Koryo followed the style of middle Silla and became influenced and developed through the coming eras.
What I have attempted to show here is that we can have a better understanding about the era between late Silla and early Koryo when zen buddhism was dominant through recognizing how the guardian gods on monk-stupas has been developed and how much the style of middle of Unified Silla influenced the following era.

목차 (Table of Contents)

• 목차 = 0
• I. 머리말 = 7
• II. 羅末麗初 僧塔 神將像의 造形的 始源과 造成背景 = 11
• 1. 僧塔 神將像의 造形的 始源 = 11
• 2. 僧塔 神將像의 造成背景 = 19
• (1) 歷史的 背景 = 19
• (2) 思想的 背景 = 29
• (3) 信仰的 背景 = 33
• III. 羅末麗初 僧塔 神將像의 形式 및 圖像 特徵 = 43
• l. 僧塔 神將像의 圖像 配置 形式 = 43
• 2. 增搭 神將像의 形式 分類 = 47
• (1) 제1형식; 四天王 形式 = 48
• (2) 제2형식; 帝釋·梵天과 四天王 形式 = 68
• (3) 제3형식; 佛과 帝釋·梵天 形式 = 81
• 3. 僧塔 神將像의 圖像 特徵 = 83
• (1) 帝釋·梵天像 = 83
• (2) 四天王像 = 85
• IV. 羅末麗初 僧塔 神將像의 樣式 變遷 = 92
• 1. 樣式 系列과 編年 = 92
• (l) 廉居和尙塔 神將像 系列 = 92
• (2) 雙峰寺 澈鑒禪師塔 神將像 系列 = 93
• (3) 實相寺 秀澈和尙塔 神將像 系列 = 96
• (4) 菩提寺址 大鏡大師塔 神將像 系列 = 97
• (5) 普願寺址 法印國師塔 神將像 系列 = 100
• 2. 樣式 變遷 = 101
• V. 羅末麗初 僧塔 塔身 神將像의 美術史的 意義 = 107
• VI. 맺음말 = 110
• 【표 I】 나말려초 승탑 탑신 신장상 현황 = 114
• 【표 II-1】 탑·佛殿·석등·사리기 사천왕상 현황 = 116
• 【표 III】 승탑 탑신 신장상 크기 = 119
• 참고문헌 = 122
• Abstract = 128
• 도판목록 = 131