막고굴 335호굴 유마경변의 도상분석을 통한 사천왕 도상 연구 = An Essay on the Iconographic Origin of Caturmaharaja by an Iconological Analysis of Vimila-Kirtinirdesa-Sutra Tableau in Mogao Cave No.335

다국어 초록 (Multilingual Abstract)

This essay is written to advance a hypothesis that the iconography of Four Heavenly Kings(Caturmaharaja) depicted as armed warrior and the monster shaped Eight Deva Guardians might be originated from the scene of Buddha`s defeat Mara the king of demon(Papiyas). The original shape of Four Heavenly Kings were aristocrats as appeared in the scene of “Four Heavenly Kings offer the Buddha`s Bawl”. But it is changed as armed warrior during the pass of Central Asia to East Asia. This phenomenon seems to be caused that Central and East Asian artist adopted the iconography not from Indian Four Kings image but from Mara the king of demon. The Vimala-Kirtinirdesa-Sutra Tableau in Buddhist Cave no.335 of Dunhuang Mogaoku shows this process very well. A group of warriors standing behind the Vimalakirti with Asuras has been regarded as Four heavenly kings. But if it is really Four heavenly kings, it is doubt that why they are staying with Vimalakirti instead of Manjusr`. In effect, real Four Heavenly Kings appears behind Manjusri after Middle Tang period(中唐) and another Four heavenly Kings group continually exist behind Vimalakirti. In this case, it is obviously that the group behind Vimalakirti is not Four heavenly kings. So even the group behind Vimalakirti seems as Four Heavenly Kings according to a distinct sign as jewel stupa, this group should be interpreted as other existence. This essay is trying to explain this group as Mara and Asura with demons. Especially, in the Vimala-Kirtinirdesa-Sutra, Mara and his demons are appeared to knuckled under to Vimalakirti`s occult power. On this suggestion, the concept of two groups under Vimalakirti and Manjusri. While the group under Vimalakirti can be explained as many peoples and demons whom Vimalakirti had relieved, the group under Manjusri can be explained as Buddha`s disciples and Heavenly king accompanied by the Bodhisattva. In visual, the armed warriors group and demons behind Vimalakirti are very similar to the shape of Mara and his demons on the wall painting in Mogaoku cave no.254 & 263 which are depicted the scene of “Attack of King Mara”. In this scene, Mara and some demon kings are described as an armed warrior in front of monster shaped demons. These kings and demons seems remind us buddhist guardians in Mt.Grdhrakuta(Vulture Peak, 靈鷲山) Assembly tableau. In addition, this essay compared the monster shaped demons in the narrative scene of “Attack of King Mara” with Eight Deva Guardians appeared in Buddha`s preaching scene. And this comparison confirmed that the origin of Eight Deva Guardians can be derived from the demons of King Mara. We can imagine that the East Asian recognition of Mara and demons are slowly changed as their defeat and surrender to Buddha made them as symbolic guardians of Dharma after his Nirvana.

참고문헌 (Reference)

1 문명대, "한국의 불화" 열화당 1979

2 이기영, "유마힐소설경" 한국불교연구원 1994

3 장순용, "유마경(설무구칭경)" 시공사 1997

4 주수완, "영산회상도상의 기원과 전파" 한국불교미술사학회 (41) : 59-86, 2013

5 문명대, "신라 사천왕사(四天王寺) 사천왕·팔부중상(四天王·八部衆像)의성립문제와 석굴암 사천왕·팔부중상의 도상 변화" 한국불교미술사학회 (39) : 9-50, 2012

6 박은화, "수·당대 돈황 막고굴의 유마힐경변상화" 1994

7 "사익범천소문경" 동국역경원 1998

8 馬鳴, "붓다차리타" 고려원 1988

9 김혜원, "보이는 세속인 청중의 도상과" 사회평론 2006

10 임영애, "무장형 사천왕상의 연원 再考" 한국미술사연구소 11 : 1998

11 권영필, "렌투스 양식의 미술" 사계절 2002

12 문명대, "돈황에 남아있는 신라인의 족적" 백산자료원 2002

13 김혜원, "돈황 막고굴 제321굴 <보우경변>에 보이는 산악 표현의 정치적 의미와 작용" 1 : 2002

14 "노도차두경"

15 "藥師琉璃光七佛本願功德經" 동국역경원 1973

16 장혜원, "石窟庵 八部衆像 硏究" 동국대학교 대학원 2004

17 송성수, "方廣大莊嚴經" 동국역경원 2004

18 장희정, "敦煌 莫高 제196굴 <勞度差鬪聖變相圖>의 검토" 한국불교선리연구원 (9) : 221-273, 2010

19 김영률, "思益梵天所問經" 동국역경원 2001

20 허형욱, "實相寺百丈庵석탑의 五方神像에 관한 고찰" 미술사연구회 (19) : 3-30, 2005

21 中村元, "佛敎美術事典" 東京書籍 2002

22 "中國石窟 敦煌莫高窟 五" 文物出版社·平凡社 1999

23 "中國石窟 敦煌莫高窟 三" 文物出版社·平凡社 1989

24 Wu Hung, "What is Bian Xiang? -On the Relationship Between Dunhuang art and Dunhuang Literature" Harvard Yenching Institute 52 (52): 1992