심포지엄 : 불교미학,예술학의 문맥과 불교예술해석의 지평 ; 종교와 미학 사이: 불상 보기의 종교적 차원과 심미적 차원 = Between Religion and Aesthetics: Seeing Buddha Images in Religious and Aesthetic Experiences

다국어 초록 (Multilingual Abstract)

What makes a Buddha image good or bad? In what manner should we see a Buddha image? I was immensely bewildered when I was asked these questions in a radio show where I appeared for the publicity of one of my new books. For as an art historian who focuses on the exploration of diverse meanings and cultural significances of Buddhist images and monuments, I myself never ask such questions. Furthermore I regard myself as a Buddhist who considers Buddhist teachings to be ultimate truth. When I face a Buddha image as a Buddhist, I behold it as if it is the real Buddha (whatever significance the word Buddha may convey in the circumstances). Being an object where my devotion is directed, it lies beyond aesthetic judgement; at that moment it becomes consummate in any respect, although I admit that some inhibition that keeps me from making such judgement may exist deep inside my mind. The same is true with the question of in what manner we should see a Buddha image. Some may speak of formal features, stylistic characteristics, or the date of the piece. Some may express interest as to which Buddha the image is meant to represent and to what religious doctrines or circumstances it relates. However, when it is viewed with a genuinely religious attitude, such questions become simply trivial. If someone meticulously examines an image seeking for aesthetic accomplishments or flaws, he or she no longer sees it as a Buddha image. The question of when or by whom it was made does not matter, either. One who is more knowledgeable may refer to iconographic features, but it is mostly likely an expression of mere intellectual curiosity stimulated by modern-day art historians, who are often preoccupied with dubious scholarly trivia. Historically, the identity of the Buddha in an image was not an important concern for most Buddhists at least prior to the emergence of esoteric Buddhism. For one who sees a Buddha image in religious veneration, there cannot be a normative way of seeing it. This paper explores diverse aspects of interaction and conflicts between religious and aesthetic experiences toward Buddha images on the basis of several instances in my own experience.