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리링(李翎),조정래(번역자) 한국미술연구소 2004 美術史論壇 Vol.- No.19
티베트불교에서 관음상은 일찍이 공양신으로서 중요한 위치를 차지하였는데, 관음의 여러 형상중 십일면관음이 가장 먼저 전래되었다. 『西藏王統記』에 의하면, 불경의 번역이 시작되면서 동시에 松贊干布(617-650)는 자신의 본존신을 찾기 위해 승려를 남인도 등지에 파견을 하여, 십일면관음 등의 상을 가져왔다. 그러므로 십일면관음 도상은 늦어도7세기에는 티베트에 전래되어 贊普왕의 본존신으로서 공양을 받았던 것이다. 이와 유사하게 한족 지역 불교에 『十一面觀音經도 바로北周서기에 번역되어 전래되었으며, 경문 중에는 조상의 양식이 상세하게 서술되어 있다. 하지만 실제 조사와 도상의 비교를 통하여 십일면관음상의 전래 루트에 차이가 있음이 발견되었다. 실제로 존재하는 두 造像 양식의 계통은, 즉 한족지역-일본, 인도-티베트 계통이다. 본 논문은 여러 불교조상 중 종교와 예술적으로 가장 독특한 의의를 가진 십일면관음상을 중심으로 그 도상과 전래 형식을 논하고자 한다. Avalokite?vara is the most ancient and important divinity in Tibetan Buddhism. He appears in many forms among which the eleven-faced Avalokite?vara has had the earliest diffusion. According to the Record of Tibetan Rulers (《西藏王統記》), king Srong-btsan sgam-po (617-650), in the effort to find a Buddha Satyadevata to worship, dispatched the emanative monk to southern India with the request for images of the eleven-faced Avalokite?vara. In other words, as early as the 7th century representations of this type of Avalokite?vara had already been introduced in Toban and worshipped as Satyadevata by the rulers of that kingdom. Similarly, in Chinese Buddhism, scriptures about the eleven-faced Guayin had already been circulated and translated during the Northern Zhou Dynasty. In those scriptures one finds also detailed descriptions about design and construction of the eleven-faced Avalokite?varas image. However, fieldwork and comparative analysis reveal that, due to different processes of diffusion, representations of the eleven-faced Avalokite?vara appear in two main typologies, namely a Sino-Japanese typology and an Indian￢Tibetan one. Among the many iconographic representations created by Buddhism, the eleven -faced Avalokite?vara stands out for its unique religious and artistic significance. This paper focuses on the typology and diffusion of this Buddhist image.
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진선(Jin Shen),조정래(번역자) 한국미술연구소 2004 美術史論壇 Vol.- No.18
Up to now, there is no thorough study except discovery report about the more than ten Buddhist statues discovered in Bo county, 1995. Comparing with statue tablets in Shandong, Henan and Buddhist statues of Longmen, Hongqing temple, the author holds that the main stream of statues in Bo county belongs to Henan style. For example, the small shrine on the top part of the tablets, in which Maipreya seated, the main paJt on the front being an arch shine, with monk and laymen standing on, Manjusri and Weimoji on both sides debating about doctrines. Seven main statues include Budda, Yuanjue, Bodhisattva, disciples, etc. symbolizing theory of "integrating three into one" in fahua surra. The compsition and conception are identical with statue tablets in Henan, The statues also reflect characteristics of Buddhist images in Qingzhou, Shandong province because of the situation on the juncture of Henan, Shandong and jiangsu. Such as Buddhist statues without ceases in the clothes and some decorative patterns. With rich contents, these statues are full of delight of life, Take "children playing with water" for instance, it contains elements of the Western Region (including Xinjiang and Central Asia), Images of foreigner and warrior have similarities to Sogdians figure prevailing in Beiqi Especially, me miraculous deeds of Liu Sa-ke, a saint monk, which is first discovered on tablets of Beiqi, is significant in the study on the history of saint monks.
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