초기 대승불교와 보살상 = Early Mahayana and Bodhisattva Images in Indian Buddhism

다국어 초록 (Multilingual Abstract)

While recently working on two papers on the iconography of Buddha images or the validity thereof, I have become tempted to re-examine the issue of Mahayana bodhisattva images, which I treated more than ten years ago. In my previous work on Gandharan bodhisattvas initially written in 1999 and published in 2006, my intention was to show that in Gandharan art we witness images of bodhisattvas other than Maitreya and Siddhartha, those pertinent to the exclusively Mahayana context. In a typological examination, I noted a third and a fourth bodhisattva types, which could be identified as Avalokitesvara and Manjusri. But I have never been fully satisfied or comfortable with this provisional suggestion and have been thinking to explore the problem in a significantly different perspective, and that is what I attempt in this article. It treats bodhisattva images from early Indian Buddhism in their possible association with early Mahayana with a greater emphasis on Gandhara. This survey reveals that, when examined in strict terms, a great deal of uncertainties still remain in locating images of exclusively Mahayana bodhisattvas. In Andhra few bodhisattva images were made, and in Mathura most extant examples are limited to Siddhartha and Maitreya. In Gandhhara, though bodhisattva images were produced in far greater varieties and numbers, few can be securely identified as bodhisattvas exclusively connected to Mahayana. Here three aspects are noteworthy in bodhisattva images from Gandhara. First, we need to question our conventional approach in identifying divinities in Buddhist art. Buddhist art specialists are generally used to seeking an exclusive tie between a divinity and an iconographic type or to anticipating the iconographical specificity of a certain Buddha or a bodhisattva in visual imagery. Bodhisattva images show variations in headdresses, hairdos, and objects held in a hand, which were often understood a s matching with the identities of individual bodhisattvas represented. But this is because prominent bodhisattvas are usually defined conspicuously in terms of their characteristic activities or functions. It seems likely that when activities or functions overlap, they could have been made in quite similar, sometimes indistinguishable, shapes. Therefore, even if Avalokitesvara or Manjusri existed in visual images, there would be an inherent difficulty in identifying them. Second, we have to keep in mind the question of whether images dedicated in Gandharan monasteries carried substantial cultic importance. In Gandharan monasteries images were mainly dedicated for devotees to accrue merits. Devotees could have undertaken simple acts of dedicating images, while the subjects for images as desired dedications were prescribed by learned monastics in the monastery. Rather than each being an object of devotional cult, images were in most cases designed and functioned as a reflection of the collective vision of religious ideals or doctrinal ideas with the community. Third, nonetheless, we cannot fail to notice that Gandharan art was astonishingly conceptual. The ideal of bodhisattva, which appears close to that of Mahayana, is conspicuously found in depictions of bodhisattvas. Especially, Buddha triads and complex steles are full of visual statements about bodhisattvas. Even we can witness visual images that strongly recall the idea of the gradual progression of bodhisattvas through various stages as found in the Dasabhumikasutra.

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