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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.
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60 T278 60:788; , -, 17(1978), pp.88-93; , (: , 1937), pp.302-306.
61 T2154 9:566; , , -350(1980), pp.4-8.
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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’.