佛腹藏儀式에 關한 硏究 - "造像經"을 中心으로- = (A) Study on Buddhist Bokjang Ritual -Focusing on "Josang-gyung"-

다국어 초록 (Multilingual Abstract)

Bokjangmul(腹藏物: or Bokjang items) kept in Buddhist statue is not a simple item, but a treasury of cultural properties which shows the indications of the times including various documents, scriptures, Buddha's sari(relics of Buddhist saint), Buddhist paintings. Furthermore, the meaning of Bokjangmul does not simply remain as a cultural property in that it includes religious wishes that monks tried to preserve the vital energy and authority of Buddha by putting sacred items equivalent to the five viscera of human body in it and also includes the agonies of the then monks.
The Bokjang ritual proceeds according to the 『Josang-gyeong:造像經』. This scripture is known to be based on the 『Bokjangsa:腹藏師』 recorded in the 『Geum-gang-jeong-gyeong:金剛頂經』, however, it has not remained in China. In case of Korea, the currently remained 『josang-gyeon』 covering the Bokjang ritual was edited by Rev. Yongheo and Rev. Hwa-ak of Chosun period. It is not certain that from when the Bokjang ritual that enshrines relics including sari in the belly of Buddhist statue was initiated. Considering the Bokjang enshrined statues were found from Song period, it began from eighth century in case of China.
In case of Korea, its originality goes back to Shilla period and the sari traces enshrined in the pedestal of Seokjo-birojana Buddhist statue, Seoknam Temple, located in Mount Jiri which was made in A.D. 766 are typical. Although they are not a Bokjangmul, experts consider them as a transient phenomenon before the current Bokjang ritual has been established. It is from the second period of Goryeo that a perfect Bokjangmul began to be found in Korea. The typical Buddhist statues include Geonchil-amitabha of Cheonwon Temple, Geumdong-gwaneumbosal of Buseok Temple located in Seosan, Geumdong-amitabha of Munsoo Temple.
The Bokjang ritual is usually conducted one day prior to Jeoman ritual(a ritual of dotting eyes on the Buddhist statue). Immediately prior to the Jeoman ritual, the chief priest of head temple has three bowls of ogokbab(meal made of five cereals), three plates of dish and three plates of Dduk(Korean style rice cake) devotedly prepared. And then, he bows three times to the table in front of Beobdang(Buddhist sanctum) between outside of Iljumun(front gate of temple) and amid of Doryang(Buddhist seminary). This ritual called "Saengban-sambun" is to inform good gods and trifle things around the temple, of worshiping Buddha.
After finishing the Saengban-sambun, five priests are selected to assist the leading priest in organizing the ritual. And then, five treasurable jars to contain bokjangmul to be enshrined according to five directions are placed. The quality of the jars is varied. Gold, silver, copper, paper, etc. are variably used for them. However, in order to symbolize Ohaeng(five elements), blue is used for the eastern jar, yellow for the southern jar, red for the western jar, green for the northern jar, and white for the central jar.
As the leading priest to the Bokjang ritual calls for bokjangmul one by one, each priests standing in front of each jars are to put them by turns into the jars repeating the calling. The 65 things in all are used for the bokjangmul to be put in the jars, that are regarded as the most sacred and precious in the world and as symbolizing the vital energy of the universe.
The typical ones are ogok(five cereals), obo(five treasures) and geosacho, a kind of weed which Buddha sat on when he practiced asceticism under a lime tree, including ogilsangcho, osangae, ogeumgangjeo, oyunjongja, obanggyeongju, oyak, ohyang, ohwang, ogaeja, ochaebeon, osaeksa, osihwa, oborisu, etc.
Since, as far as ogok or osihwa are concerned, they are varied depending on the four seasons, it usually takes one whole year to prepare bokjangmul. When the five treasurable jars have been completely prepared, another ritual proceeds to put them into Huryeong-tong(a bigger jar).
The ritual to put the five treasurable jars into Huryeong-tong begins with laying Hamyeon-gyeong(bottom-side mirror) on the bottom of the Huryeong-tong. Since a mirror has a meaning of flashing a beam of hope, they wish that the brightness of Buddha would be present at the bokjangmul by laying the mirror on it.
Next, after putting obobyeong(five treasurable jars) on the mirror, a case containing sari-ham(sari box) and natural pearls is added on it, followed by covering Sangmyeon-gyeong(top-side mirror).
Next, the lid of the huryeong-tong reading Sanscrit indications for the five directions will be covered suitable for the directions. As the work on the huryeong-tong is completed, they will lay a piece of five-colored cloth in piles and place a piece of ji-bang(paper-made tablet for memorial service), on which a Buddhist saint who protects the five directions is drawn, on the cloth.
Before wrapping the huryeong-tong, the Cheonwon symbolizing a lotus with eight leaves will be placed on it and Bokjang-gi or Joseong-gi covering a balwonmun(written Buddhist player), time of enshrining, list of donators, etc. will be put in, which serve as good materials showing the phases of the age, culture, religious perspective of that times.
In the end, the Bokjangmul is completed when you wrap it up with five-colored cloth and then tie it up with five-colored thread. What care should be taken is that, when placing the huryeon-tong inside the bokjang(belly part of statue), it should be placed on the straight with the Buddha's naval and the bokjangmul should not lean or bend
For this, they put various scriptures and sagyeongbon in the parts of neck, arms, and other vacant parts. This is why many scriptures are found in bokjangmul of Buddhist statues.
After the bokjang ritual is completed like this, the statue comes into the world as a Buddha with vital energy of brightness and providence through Jeoman ritual.

목차 (Table of Contents)

• 目次
• Abstract = ⅰ
• Ⅰ. 序論 = 1
• 1. 硏究目的 = 1
• 2. 硏究範圍 및 方法 = 2
• Ⅱ. 造像과 腹藏儀式의 起源 = 4
• 1. 造像의 起源과 그 功德 = 4
• 2. 腹藏의 起源과 意味 = 7
• Ⅲ. 『造像經』의 構成과 內容 = 12
• 1. 『造徵經』의 由來와 刊行年代 = 12
• 2. 『造像經』의 구성과 내용 = 15
• 3. 『造像經』에 나타난 腹藏品目 = 18
• Ⅳ. 『造像經』에 나타난 腹藏儀式의 節次 = 41
• 1. 儀式 修行者의 선정 = 41
• 2. 五寶甁 安位 = 43
• 3. 五穀 安位 = 45
• 4. 五寶 安位 = 46
• 5. 五藥 安位 = 47
• 6. 五香 安位 = 48
• 7. 五黃 安位 = 49
• 8. 五弄子 安位 = 50
• 9. 五色綵幡 安位 = 51
• 10. 五色絲 安位 = 53
• 11. 五時花 安位 = 53
• 12. 五菩提樹葉 安位 = 54
• 13. 五吉祥草 安位 = 55
• 14. 五傘蓋 = 55
• 15. 八葉大紅蓮之圖 安位 = 56
• 16. 准提九字天圓之圖 安位 = 57
• 17. 列金剛地方之圖 安位 = 57
• 18. 五輪種子 安位 = 57
• 19. 眞心種子圖 安位 = 58
• 20. 准提九字圖 安位 = 59
• 21. 入悉地圖 = 59
• 22. 出悉地圖 = 59
• 23. 喉鈴筒內 安位 = 60
• 24. 황초폭내 安位 = 60
• Ⅴ. 腹藏儀式의 信仰的 意義 = 62
• 1. 腹藏儀式과 點眼儀式 = 62
• 2. 腹藏儀式의 信仰的 意義 = 64
• Ⅵ. 結論 = 66
• 參考文獻 = 69
• 附錄 = 71