Citation preview
I.
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‘Y’ ‘U’1, 2. ‘Y’ ‘(, Udyana)’, ‘U’ ‘(, Asoka)’ .1
‘Y’ U
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‘U’
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* : , 37, 2011. 12; () : , 35, 2011. 12; 16 : , , 38, , 2011. 12; ,
, 2011. 8; : , 9, , 2010. 10.
1 Alexander Soper, Chinese, Korean and Japanese bronzes: a
catalogue of the auriti collection donated to IsMEO and preserved
in the museo nazionale d’arte orientale in Roma(Roma: IsMEO, 1966),
pp.37-39; ( , 2008), p.222.
2 ,
34 2012. 6
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3 ‘ ’ . T2087 05:0898a.
4 28, 6, , .; , ‘’ , 55(, 2008), pp.23-
32 . 5 , Alexander C. Soper, “The Sandalwood First
Image”, Literary Evidence for Early Buddhist Art in China(Ascona:
artibus Asiae Publishers, 1959), p.259; Martha L. Carter, “The
Mystery of the Udayana Buddha,” Annali vol.50(Naples: Istituto
universitario orientale, 1990), pp.1-43 .
6 3
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9 T2087 12:945b 12 …… …… …… ; T2053 5:245c 5 .
10 Uzun-
Tati . A. Stein, Sand-buried Ruins of Khotan: Personal
‘’ . (602~664)
.
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1027; ·, , (: , 1965), pp.186-188; , , (, 1983), pp.364-365.
12 ‘ ’ · 13
50km
. 1901 5
, 1928
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547 .18
16 A. Stein, (1907), pp.482-506; Gerd Gropp, Archäologische Funde
aus Khotan, Chinesisch -Ostturkestan. Die Trinkler-Sammlung im
Übersee-Museum, Bremen(Bremen: Verlag Friedrich Röver, 1974).
pp.221-240.
17 91 , R.29 2.5cm . A. Stein, (1907), p.496.
18 T2092 05:1018 5 ‘ ’ , ‘ ’ . , , (, 2001), pp.182-183.
.
644 . 100
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(rauraka), (roraka) .14
.
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Narrative of a Journey of Archaeological and Geographical
Exploration in Chinese Turkestan(London: Hurst and Blackett, 1904),
pp.439-440; A.Stein, Ancient Khotan: Detailed Report of
Archaeological Explorations in Chinese Turkestan, (Oxford:
Clarendon Press, 1907), pp.285-286 , , (1990), pp.1028-1029; , (: ,
1984), pp.260-261; , ,, 2(1981) .
11 T2087 12:943a 12 . 12 , , 25:10(1922), pp.209-225. 13 , ,
1(1928), pp.102-103; , , (1990), p.1029.
14 , , 100(1978), p.65. 15 , (, 1996), pp.144-146.
3
(Aurel Stein, Ancient Khotan Vol., Oxford: Clarendon Press, 1907,
pl.17-b)
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21 (A.Stein, (1904), p.449; A.Stein, (1907), p.483), . A.Stein,
(1904), pp.451-452; A.Stein, (1907), p.488.
22 A.Stein, (1907), pp.500-501. 23 , (, 2007), pp.64-82. 24
A.Stein, (1907), pp.500-501. 25 . Joanna Williams, “The Iconography
of Khotanese Paintings,” East & West, vol.23(1973), pp.109-154;
, , 16(2011), pp.105-129.
26 7 , -(Domoko-Yar) -- 6(F) . 7~8 . , , · , 15: (:
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London: British Library, 2004, 34a-i)
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30 T2053 6:252b 6. 31 T2053 5:245c 5. 32 . Robert L. Brown,
“Expected miracles: the unsurprisingly miraculous nature of
Buddhist images and relics,” Images, miracles, and authority in
Asian religious traditions, Boulder(Colorado: Westview Press,
1998), pp.24-27.
33 , - , (, 1985-4), pp.102-106 ; , ( , 2010) .
. 1900
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1:2147a) ‘’ · ( )6(T2053 6:252b) 7 . 7 . , -, 3, 48(, 2003),
pp.153-168; , 7 , (, 2007), pp.83-99.
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, (2010), p.82. 40 , (2003), pp.156-157; , , p.213. 41 27 . 12
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34 . , (1985), pp.102-106; 35 46 . , (2010), pp.123-128 .
35 , , 120(1986), pp.92-93; , , 177(1988. 3), pp.61-74 ; , (2003),
pp.153- 168; , , 287(2006), pp.45-72; ‘ ’ , (2010), p.82 . . ,
(2010), pp.12-17. , , (1985), pp.102-106; , , 60(1988), pp.199-397;
, - , -2(: , 1996-4), pp.26-39.
36 , (, 2003), p.214. 37 , (2010), pp.78-81.
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46 , 5 . , (1996), p.143; , (Khotan ) (Rawak) , 198(1991),
pp.45-58; Marylin Martin Rhie, Early Buddhist Art of China and
Central Asia 2(Leiden: E. J. Brill, 2002), pp.276-316 .
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44 . Alexander C. Soper, “Representations of Famous Images at
Tun-huang,” Artibus Asiae 27(1965), pp.352-361.
45 , (1986), pp.82-83.
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5 (Ancient Khotan, vol.3, 1907, pl. 16b)
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<> 486 140.3cm, (Angela Falco Howard, Li song, Wu Hung, Yang
Hong, Chinese Sculpture, New Haven & London: Yale Univ. Press,
2006, pl.3-30)
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53 Gregory Henderson & Leon Hurvitz, “The Buddha of Seiryji:
New Finds and New Theory,” Artibus Asiae 19(Artibus Asiae
Publishers, 1956), pp.5-21; , (2009), p.20.
54 . , (2009), pp.22- 28.
55 Donald F. McCallum, “The replication of miraculous images : the
Zenkoji Amida and the Seiryoji Shaka”, , pp.207-226; , (937~975)
(936~944) () 2(964) . (976~997)
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57 , . Gregory Henderson & Leon Hurvitz, (1956), p.12;
A.B.Griswold, “Prolegomena to the Study of the Buddha’s Dress in
Chinese Sculpture,” Artibus Asiae 27-2(1963), pp.117-118; , , ( ,
2004), pp.141-142. . , .
.58
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58 T2053 5:245c 5. 59 1183 (Lii-Yul lu-bStan-Pa) . (T2087 12:943a),
, (T2053 5:245c); W.W.Rockhill, The Life of the Buddha and the
Early History of His Order(London:Kegan Paul, Trench,Trübner &
Co. 1982), pp.233-237; , (, 1974), pp.16-20; Yamazaki Genichi(),
“The Legend of the Foundation of Khotan,” The Memoirs of the Toyo
Bunko, 48(1990), pp.6-16.
60 T278 60:788; , -, 17(1978), pp.88-93; , (: , 1937),
pp.302-306.
61 T2154 9:566; , , -350(1980), pp.4-8.
30 ‘ ’ · 31
, , , , 1989.
, ‘’ , 55, , 2008.
, , , 2010.
, , 11,
, 1997. 10( , , 2008 )
, , , 1996.
, 7 , , , 2007.
, , , , 2004.
, - , 1985-4, , 1985.
, -, -2, : , 1996. 4.
, ,, , 1981 2.
, “”, , , : , 1993.
, , 177, 1988. 3. , -,
17, 1978.
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key words
Udyana image, Khotan, Rawak temple site, auspicious Image,
Gamsansa, Seryoji
2012 1 16 | 2012 3 26 | 2012 3 30
Formation, Copying, and Extension of
‘Udyana Style Standing Figures of Buddha’
Lim, Youngae
Though the ‘Udyana image’ exist in the literature, we have
different reality
because there is no substantial evidence in India while we can find
several
similar stories. However, Xuanzang heard a story of a Udyana image
that had
been said to be delivered from Kausambi to Khotan when he visited
the latter
in 644. This Udyana image was moved to Phema within Khotan after
doing a
miracle at Rauraka[] within the same land of Khotan. This statue
was
said to have a marvel power to the effect that one could completely
cure his or
her lesions when he or she attach gold leaf sheets to the same
parts of the statue
as his or her lesions. The place which Xuanzang referred to as
Rauraka was
highly likely to be Rawak temple site, and the gold leaf sheets on
the thigh and
knee sites discovered from the standing figure of Buddha in Rawak
temple site
also suggest its close relationship with Udyana image. Judging from
matters as
they stand, Udyana image from Kausambi that Xuanzang carried on his
way
back to Tang in 645 would be in the same form as the standing
figure of Buddha
of Rawak temple site, and the unique shapes of the ‘Udyana image’
handed
down to the present are highly likely to have originated from the
form of the
standing figure of Buddha here in Khotan.
If Xuanzang’s record is true, Udyana image came to exist in Khotan,
a
more excellent country than Kausambi, where it could not stay
despite the
fact that it was the first place of the foundation of Udyana image.
It seemed
that Khotan had been already recognized as a ‘significant place
where India’
s auspicious image stayed’ when Xuanzang visited there. In the
state-founding
120, 1986.
, , 287, 2006.
, , , 1974. , , -350, 1980. , , 25:10, 1922.
, , no.513, : , 2009.
, , 100, 1978.
, , (), :
A.Stein, Ancient Khotan: Detailed Report of Archaeological
Explorations in
Chinese Turkestan, , Oxford: Clarendon Press, 1907.
A.Stein, Sand-buried Ruins of Khotan: Personal Narrative of a
Journey of
Archaeological and Geographical Exploration in Chinese
Turkestan,
London: Hurst and Blackett, 1904.
Alexander C. Soper, “Representations of Famous Images at
Tun-huang”,
Artibus Asiae 27, 1965.
Alexander C. Soper, “The Sandalwood First Image”, Literary Evidence
for
Early Buddhist Art in China, Ascona: artibus Asiae Publishers,
1959.
Alexander Soper, Chinese, Korean and Japanese bronzes : a catalogue
of
the auriti collection donated to IsMEO and preserved in the
museo
nazionale d’arte orientale in Roma, Roma: IsMEO, 1966.
Martha L. Carter, “The Mystery of the Udayana Buddha” Annali vol.
50,
Naples: Istituto universitario orientale, 1990.
Marylin Martin Rhie, Early Buddhist Art of China and Central Asia
2, Leiden: E.
J. Brill, 2002.
of Buddhist images and relics”, Images, miracles, and authority
in
Asian religious traditions, Boulder, Colorado: Westview Press,
1998.
Yamazaki Genichi(), “The Legend of the Foundation of Khotan”,
The Memoirs of the Toyo Bunko, 48, 1990.
ABSTRACT
34 ‘ ’ · 35
myth of Khotan, another auspicious king, Asoka appears. Of course,
the whole
story would have been devised by Khotan people in order to give
authority
to the nation, and the security of the legitimacy of Khotan as the
center of
Buddhism could have serve as an important factor.
Khotan recognized and embodied the ‘Udyana image’ that had
existed
only in legends as an auspicious image. Since then, Udyana image
have just
been copied and extended only with its rimples in a special form
while losing
not only its original identity but also its mysterious powers. In
other words,
Udyana image has left only the ‘Y-shaped’ rimples, being separated
from its
original context. We have called them ‘Udyana style rimples’ so far
without any
great meaning, and after all those standing figures of Buddha with
‘Y-shaped’
rimples have got the label of ‘Udyana style’ in separation with the
‘Udyana
image’.