ブックタイトルRILAS 早稲田大学総合人文科学研究センター研究誌

概要

RILAS 早稲田大学総合人文科学研究センター研究誌

WASEDA RILAS JOURNAL NO. 3 (2015. 10)雲山会上図像の形成過程と拡散雲山会上図像の形成過程と拡散朱秀浣A Study on the Iconography of“Mt.G?dhrak?ta Assembly”: Its Formation and DiffusionSoowan JOOAbstractThe purpose of this essay is to explore the origin and diffusion of the“Buddha’s Mt.G?dhrak?ta Assembly (霊山佛會)”iconography which are most pervasive in Buddhist art history of Korea (fig.3). This iconography can be definedas the scene of‘Saddharma-Pundarika’speeching of Sakyamuni Buddha on the Mt.G?dhrak?ta.This“Mt.G?dhrak?ta Assembly”scene seemed to be originated in Gandharan Buddhist iconography as Buddhapreaching scene stele excavated from Mohammad nari(now in the Lahore Museum, Pakistan, fig.2). But until that time,it had no means of‘Saddharma-Pundarika’speeching, but seemed to concern with some Mahayana texts.This iconography was succeeded to the wall painting of preaching scene in Ajanta cave no.16 (fig.4) and propagatesto Central Asia at the period of Five Barbarian Dynasties and Sixteen States of Northern China. In case of DunhuangMog?ok? (莫高窟) cave no.272 (fig.7), its structural aspect is presumed to stem from Gandharan iconography ofBuddha preaching scene stele. In addition, this cave can be interpreted by the concept of training place for Yog?c?ramonks.In the bronze relief on the backside of halo of the Buddha image with inscription“the first year of Taihe (太和元年, 477, fig.9)”, and two Buddhist Steles of Northern Qi (fig.11) are based on the tradition of“Mt.G?dhrak?taAssembly”iconography. Particularly, these examples shows how the Chinese evolution transformed the various Indianmetaphysical conception of Buddhak?ya into physical story of Buddha’s life as the“Birth of Buddha”,“First Sermon”,“Prabhutaratna Stupa”motifs derived from the Saddharma-Pundarika and the Vimila-k?rtinirde?a-s?tra tableaux.At the similar point of view, Mog?o caves excavated during the period of Sui (隋) and T?ng (唐) Dynasty can bediscussed in these two genealogy (fig.13,14). The main niche of Mog?o caves in these periods enshrines the statuesof Buddha, Bodhisattvas, Arahats with couple of armored guardian according to the composition of“Mt.G?dhrak?taAssembly”. And it is noted that the Saddharma-Pundarika-s?tra tableaux begun to be depicted at the ceiling of mainnich.(fig.15) It can be presumed that this preaching scene begun to have the meaning of“Mt.G?dhrak?ta Assembly”more exclusively.Through comparison with T?ng Dynasty’s preaching scene, the iconographic similarity is verified in Saddharma-Pundarika-s?tra tableaux of Southern Song (宋) Dynasty.(fig.17) In its final, the Korean“Yeongsanhoesangdo (霊山會上圖)”succeeds the iconography of“Mt.G?dhrak?ta Assembly”throughout this Saddharma-Pundarika-s?tratableaux illustration painting.(fig.18) This s?tra tableaux became a basic platform of Korean“Yeongsanhoesangdo”.373