부석사 가람배치의 시·공간성에 관한 연구 = A Study on Time/Spatiality of Temple Arrangement of Boseoksa Temple

다국어 초록 (Multilingual Abstract)

In this study, it was clarified that the site layout of Buseoksa(浮石寺)
Temple has the architectural concept formed based on Euisang(義湘)’s
「Beopgyedo(法界圖)」, Samsebul(三世佛) areas, which are Hwaeom(華
嚴)’s temporality, were interpreted through the pagoda and the
pavilion, and the possibility of integrating realization and succession of
Hwaeom thought and architecture was suggested from a modern
viewpoint.
The way Hwaeom’s temporality of 「Beopgyedo」 had been embodied
in Buseoksa Temple was interpreted through the continuity of space
that appears in the process of a visitor’s movement, and Hwaeom’s
temporality was to be deduced from the pagoda and the pavilion by
comparing with the traditional site layout formality and discussing the
historical and ideological backdrop. Through this, reasoning of Hwaeom
thought and spatial analysis were combined to interpret in a
multidimensional way the interaction between temporality and space of
Buseoksa Temple.
In Chapter 1, advanced research on Buseoksa Temple was examined,
the research purpose, range, and methods were set, and the research
methods were discussed centered around critical mind.
In Chapter 2, the trend of the times reflected in the site layout and
architectural elements of Buseoksa Temple was examined, its religious,
ideological, and architectural meanings were investigated, and a
theoretical frame was proposed.
In Chapter 3, the site layout of Buseoksa Temple was interpreted as
the past, the present and the future, based on 「Beopgyedo」 and
temporality of Hwaeom, and the temporal and spatial concepts were
established.
In Chapter 4, the site layout of Buseoksa Temple was analyzed with
the traditional site layout formality, and the temporal and spatial
meanings of the past, the present and the future became materialized
through the traditional ideas.
In Chapter 5, the site layout of Buseoksa Temple and the pagoda and
the pavilion were re-analyzed and the temporal and spatial value of
the traditional ideas were suggested for the modern architecture based
on 「Beopgyedo」.
In conclusion, the temporal and spatial meanings of the traditional ideas
were clarified through 「Beopgyedo」 and the site layout of Buseoksa
Temple, and the potential of succession to the modern architecture was
suggested.
Through this trend of research, it has been verified that the site layout
and architectural elements of Buseoksa Temple are the cases which
embody the philosophical and religious meanings of the traditional ideas
including Hwaeom thought, and the results of the research are as the
following.
First, the architectural concepts of Buseoksa Temple was formed based
on 「Beopgyedo」, and through this, the classification into Samsebul
areas of the past, the present, and the future was confirmed. The
details are as follows.
First, regarding the construction of Buseoksa Temple, 「Beopgyedo」
can be understood as its architectural concept, and Vairocana Buddha
(毘盧遮那佛), the past Buddha, can be perceived through substance,
space and time.
Second, Buseoksa Temple’s walking arouses positive emotions through
the harmony between the nature and the temple, and Sakyamuni(釋迦
牟尼), the present Buddha, can be recognized as Haeinsammae(海印三
昧) concentrated in the present.
Third, Muryangsujeon(無量壽殿) in Buseoksa Temple has a conceptual
value of the Pure Land, and Amitabha Buddha(阿彌陀佛), the future
Buddha, can be acknowledged.
Therefore, the site layout of Buseoksa Temple symbolizes 「Beopgyed
o」, the past Buddha, and Buseoksa Temple itself while the moment of
Oreum represents the present Budda, and the Pure Land of
Muryangsujeon signifies the future Buddha.
The Samsebul areas of the pagoda and the pavilion, which physically
embody the temporal and spatial obscurity of 「Beopgyedo」 for
ordinary persons’ better understanding can be interpreted from a
modern viewpoint through the traditional site layout and thoughts as
follows.
First, Muryangsujeon in Buseoksa Temple(the future) and the
Three-story Stone Pagoda(the present) are located on a slope, and
represent the temporality and spatiality as multi-Buddha Area(多佛殿)
symbolizing the future Buddha and the present Buddha.
Second, the movement of the Twin Three-story Stone Pagodas of
Buseoksa Temple(the present) and the stone Vairocana Buddha(the past)
and the roof tiles of 'Buseoksajuracheong(浮石寺周羅廳)' show the
growth and the rise and fall of temple, and reveal a spatial-temporal
realm where the past and present Buddha complement each other.
Third, the Beomjongnu(梵鐘樓) and Anyangnu(安養樓) of Buseoksa
Temple realize Bibo-Fengshui(裨補風水)(the past) and Buddhist
scriptures(the future) through the entrance(the present) and the floor
function of the traditional pavilion, and have the temporal and spatial
meanings of the present when and where the past and the future are
integrated.
Therefore, Buseksa Temple has Hwaeom’s time and space when and
where the traditional site layout and thoughts of Unified Silla(新羅) are
overlapped. Muryangsujeon signifies the future Buddha, the Three-story
Stone Pagoda the present Buddha, and the movement of the Twin
Three-story Pagodas and the stone statue of Vairocana Buddha the
past Buddha and the history of the rise and fall and temporality and
spatiality of space, and the pavilion the present temporality and
spatiality when and where the past and the future are condensed.
Lastly, Buseoksa Temple is a Haweomjongchal(華嚴宗刹) where
「Beopgyedo」 has been materialized architecturally, and one can
experience the temporality and spatiality of Hwaeom thought through
the stone pagoda and the pavilion in the ascending process and discuss
the modern temporal and spatial value based on that.
First, Buseoksa Temple is a Hwaeomjongchal founded on the ground of
Euisang’s 「Beopgyedo」, and can be confirmed that it holds universal
value as a temple even in the information-driven society.
Second, Buseoksa Temple’s walking helps one realize the principles
of the universe and the nature, communication and benevolence
through interconnection, Paticcasamuppāda(緣起), mercy and wisdom in
「Beopgyedo」, and has the value to be developed into a positive
space idea which can be applied to the modern architecture.
Third, Hwaeom thought and Fengshui express the temporal and spatial
beauty of the traditional architecture which is different from the
western aesthetics, and have ideological worth applicable to the present
day.
Fourth, the stone pagoda and the pavilion inherit the culture of Unified
Silla in the modern era, and each has temporal and spatial timeless
value representing the truth and harmony.
Fifth, the traditional architecture of Buseoksa Temple induces human
practice and interaction through hands-on and psychological
experiences, and is the space leading to enlightenment with the
temporal and spatial value of Hwaeom thought.
Accordingly, the ascending process in Buseoksa Temple expands the
ideas of 「Beopgyedo」 to a modern notion of space, and the stone
pagoda and the pavilion materialize the temporal and spatial meanings
of Hwaeom thought and suggest the worth of integrating and inheriting
the thought and architecture.
Thus, a Hwaeomjong temple generally distinguishes space and time with
classification by categories or hierarchical division. Yet, in Buseoksa
Temple, 「Beopgyedo」 has been applied as an architectural concept,
which makes recognition of Samsebul possible, uniquely expresses the
overlapping of the traditional thought and various historical time periods
in Hwaeom’s time and space, and should be re-examined in modern
society as an ideological value and cultural content.

국문 초록 (Abstract)

본 연구는 부석사의 가람배치가 의상의 「법계도(法界圖)」를 바탕으로
형성된 건축적 개념임을 밝히고, 탑과 누각을 통해 화엄의 시간성인 삼세
불 영역을 해석하고자 한다. 이를 통해 현대적 관점에서 화엄사상과 건축
의 통합적 실현 및 계승 가능성을 제시하고자 한다. 방문객의 이동 과정에서 나타나는 공간의 연속성을 통해 부석사에서
「법계도」의 화엄 시간성이 구체화된 방식을 해석하고자 한다. 또한 전
통 가람 형식과의 비교, 시대적·사상적 배경을 논의하여 탑과 누각에서
화엄의 시간성을 도출하고자 한다. 이를 통해 화엄사상의 사유와 공간적
분석을 통해 부석사의 시간성과 공간의 상호작용을 입체적으로 해석하고
자 한다. 1장에서는 부석사의 선행 연구를 검토하여 연구 목적, 범위, 방법을 설
정하고, 문제의식을 중심으로 연구 방향을 논의한다.
2장에서는 부석사의 가람배치와 건축 요소에 반영된 시대적 흐름을 고
찰하고, 종교적·사상적·건축적 의미를 규명하여 이론적 틀을 제시한다. 3장에서는 부석사의 가람배치를 「법계도」와 화엄의 시간성을 바탕으
로 과거, 현재, 미래로 해석하여 시·공간적 개념을 정립한다. 4장에서는 부석사의 가람배치를 전통 가람배치형식으로 분석하며, 전통
사상을 통해 과거, 현재, 미래의 시·공간적 의미를 구체화한다. 5장에서는 부석사의 가람배치와 탑·누각을 재분석해 「법계도」를 바
논문요약
부석사 가람배치의 시·공간성에 관한 연구
-「법계도」와 전통사상의 해석을 중심으로- 한 주 희
동명대학교 대학원 건축학과
탕으로 전통사상의 시·공간적 가치를 현대 건축에 제안한다. 결론에서는 「법계도」와 부석사의 가람배치를 통해 전통사상의 시·
공간적 의미를 밝혀 현대 건축에 계승 가능성을 제안한다. 이러한 연구를 통해 부석사의 가람배치와 건축 요소가 화엄사상을 비롯
한 전통사상의 철학적·종교적 의미를 건축적으로 구현한 사례임을 확인
하였으며 연구의 결과는 다음과 같다. 먼저, 부석사의 건축적 개념은 「법계도」를 바탕으로 형성되었으며, 이를 통해 과거, 현재, 미래의 삼세불 영역으로 구분되는 시·공간성을
확인할 수 있었다. 그 내용은 다음과 같다. 첫째, 부석사 건립에서 「법계도」는 건축적 개념임을 알 수 있으며, 물
질, 공간, 시간을 통해 과거불인 비로자나불로 볼 수 있다. 둘째, 부석사의 오름은 자연과 사찰의 조화로 긍정적 정서를 일으키며, 현재에 응집되는 해인삼매로 현재불인 석가모니불로 볼 수 있다. 셋째, 부석사 무량수전은 극락정토의 관념적 가치를 지니며, 미래불인
아미타불로 볼 수 있다. 그러므로, 부석사의 배치는 과거불인 「법계도」와 부석사 자체, 현재
불인 오름의 순간, 미래불인 무량수전의 극락세계를 상징한다. 「법계도」의 시·공간적 모호함을 일반인들이 알기 쉽게 물질적으로
구현한 탑과 누각의 삼세불 영역을 전통사상과 가람배치를 통해 현대적
시점에서 해석한 결과는 다음과 같다
첫째, 부석사 무량수전(미래)과 삼층석탑(현재)은 경사지에 위치하며, 미
래불과 현재불을 상징하는 다불전 개념으로 시·공간성을 표현한다. 둘째, 부석사의 삼층쌍탑(현재), 비로자나석불(과거)의 이전과, '부석사주
라청' 기와는 사찰의 성장과 흥망성쇠를 보여주며, 과거불과 현재불이 보
완된 장소적 시·공간성을 드러낸다. 셋째, 부석사의 범종루와 안양루는 전통 누각의 진입(현재)과 마루기능
을 통해 비보풍수(과거)와 불교경전(미래)을 구현하며, 과거와 미래가 응
집된 현재의 시·공간적 의미를 담고 있다. 그러므로, 부석사는 통일신라의 전통 가람배치와 사상이 중첩된 화엄의
시·공간이다. 무량수전과 삼층석탑은 각각 미래불과 현재불을, 삼층쌍탑
과 비로자나석불의 이전은 과거불을 상징한다. 흥망성쇠의 역사와 장소적
시·공간을, 누각은 과거와 미래가 응집된 현재의 시·공간성을 의미한
다.마지막으로, 부석사는 「법계도」를 건축적으로 구현한 화엄종찰로, 오
름 과정에서 석탑과 누각을 통해 화엄사상의 시·공간성을 체험할 수 있
으며, 이를 바탕으로 현대적 시·공간적 가치를 논의할 수 있으며, 다음
과 같이 정리된다. 첫째, 부석사는 의상의 「법계도」를 바탕으로 창건된 화엄종찰로, 정
보화 사회에서도 보편적 가치를 지닌 사찰임을 확인할 수 있다. 둘째, 부석사의 오름은 「법계도」에 담긴 상호연결과 연기, 자비와 지
혜의 사상을 통해 우주와 자연의 원리, 소통, 자비심을 깨닫게 하며, 현대
건축에 적용할 수 있는 긍정적 공간 개념으로 발전할 가치를 지닌다. 셋째, 화엄사상과 풍수지리는 서양 미학과는 다른 전통건축의 시·공간
적 아름다움을 표현하며, 현대에도 적용 가능한 사상적 가치를 지닌다. 넷째, 석탑과 누각은 통일신라시대의 문화를 현대에 계승하며, 각각 진
리와 조화를 상징하는 시·공간의 불변적 가치를 담고 있다. 다섯째, 부석사의 전통건축은 체험과 심리적 경험을 통해 인간의 실천
과 상호작용을 유도하며, 화엄사상의 시·공간적 가치를 담아 깨달음을
유도하는 공간이다. 그러므로, 부석사의 오름 과정은 「법계도」의 사상을 현대적 공간 개
념으로 확장하며, 석탑과 누각은 화엄사상의 시·공간적 의미를 구현해
사상과 건축의 통합과 계승의 가치를 제시한다. 따라서 화엄종 사찰은 일박적으로 영역별 구분이나 위계적 구분으로 화
엄의 시공간을 구별할 수 있다. 그런데 부석사는 「법계도」를 건축 개념
으로 적용해 삼세불의 인식을 가능하게 하고, 전통사상과 역사의 다양한
시간대를 중첩한 화엄의 시·공간을 독특하게 표현하며, 현대 사회에서
사상적 가치와 문화 콘텐츠로 재조명되어야 할 것이다.

목차 (Table of Contents)

• Ⅰ. 서 론 ··········································································································· 1
• 1. 연구의 배경 및 목적 ··············································································· 1
• 2. 연구의 범위 및 방법 ··············································································· 5
• 2.1 연구의 범위 ·························································································· 5
• 2.2 연구의 방법 ·························································································· 6
• 3. 연구의 문제의식 ····················································································· 11
• 4. 선행연구와 본 연구의 특징 ································································· 12
• 5. 용어의 정의 ····························································································· 20
• Ⅱ. 부석사의 이론적 고찰 ············································································· 23
• 1. 한국불교의 다원적 변화 특성 ····························································· 23
• 1.1 한국불교와 정치·사회적 특성 ······················································ 23
• 1.2 한국불교와 전통사상의 관계성 ······················································ 26
• 2. 부석사의 역사 ························································································· 29
• 2.1 부석사의 창건 ···················································································· 29
• 2.2 부석사의 역사적 전개 ······································································ 32
• 3. 「법계도」를 통한 화엄사상 ······························································· 40
• 3.1 「법계도」의 이해와 해석원리 ······················································ 40
• 3.2 「법계도」와 연속적 공간개념 특성 ············································ 46
• 3.3 화엄종 사찰의 시·공간성 ······························································ 48
• 3.4 화엄사상과 부석사 가람 ·································································· 52
• 4. 가람배치의 유형과 특성 ······································································· 53
• 4.1 전통사찰의 배치유형과 변화 특성 ················································ 53
• 4.2 부석사 가람배치의 특성 ································································ 56
• 목 차
• 4.3 부석사의 탑과 누각 ········································································ 59
• 5. 소결 ··········································································································· 66
• Ⅲ.「법계도」를 구현한 부석사의 구간별 특성 분석 ····························· 68
• 1. 하로구간 과거의 특성 분석 ································································· 71
• 1.1 「법계도」 1~18구절 화엄의 상호연결성 ···································· 71
• 1.2 진여(眞如)에 이르는 경지 ······························································· 73
• 1.3 건축개념화 된 「법계도」를 인식하는 시·공간 ······················ 75
• 2. 중로구간 현재의 특성 분석 ································································· 78
• 2.1 「법계도」 19~22구절 해인삼매 ··················································· 78
• 2.2 번뇌에 동요되지 않는 경지 ···························································· 81
• 2.3 부석사 오름의 시·공간 ·································································· 83
• 3. 상로구간 미래의 특성 분석 ································································· 87
• 3.1 「법계도」 23~30구절 깨달음 ······················································· 87
• 3.2 불법으로 이익을 행하는 경지 ························································ 89
• 3.3 자연에 순응하는 시·공간 ······························································ 91
• 4. 소결 ··········································································································· 94
• Ⅳ. 화엄사상에 입각한 탑과 누각 ······························································· 98
• 1. 일탑식가람과 산지가람의 결합 ························································· 102
• 1.1 무량수전과 삼층석탑의 일탑식가람 배치 ································ 102
• 1.2 산지가람과 관련 된 일탑식가람 ·················································· 107
• 2. 이전된 삼층쌍탑과 산지가람의 현전 ··············································· 109
• 2.1 북지리사지 삼층쌍탑의 이전 ························································ 110
• 2.2 산지가람 삼층쌍탑의 정체성 ······················································ 115
• 3. 산지가람의 진로축에 형성된 누각 ··················································· 119
• 3.1 산지가람 진로축 누각의 시·공간적 배치 ································ 119
• 3.2 범종루와 안양루의 공간적 특성과 전통사상적 의미 ·············· 121
• 4. 소결 ········································································································· 126
• Ⅴ. 전통사상의 건축적 구현과 계승 ························································· 131
• 1. 부석사에 개념화 된「법계도」 ························································· 131
• 2.「법계도」의 화엄사상이 구현된 전통공간 계승 ··························· 133
• 3. 화엄사상과 풍수지리가 조화된 건축의 심미성 ····························· 136
• 4. 전통사상을 내포한 탑과 누각 ··························································· 138
• 5. 화엄사상과 물질·공간·시간의 통합 ············································· 140
• Ⅵ. 결 론 ······································································································· 144
• 참고문헌 ·········································································································· 153
• Abstract ··········································································································· 160