All Issue

2023 Vol.77 Preview Page

투고논문

일본 다이마만다라(當麻曼茶羅)의 조성과 전사본(轉寫本)의 유통

The Creation and Distribution of the Japanese Taima Mandala

이승희

LEE, Seunghui

순천대학교 남도문화연구소 연구교수
Research Professor, Namdo Cultural Research Center, Sunchon National University
31 December 2023. pp. 183∼222
PDF Citation
Abstract
The Taima mandala is a type of Buddhist image representing the Western Pure Land. First enshrined at Taimadera in 763, it has since been copied in numerous transcriptions in the exact same form, and these original works and transcriptions are collectively known as Taima mandala. The Taima mandala is a Buddhist painting first created in 763 by the daughter of a Nara nobleman named Chūjōhime and dedicated at Taimadera Temple. The painting’s composition and iconography were based on the doctrinal interpretations of the great Pure Land Buddhist master of the dynasty of Tang China, Shandao (善導, 613-681). However, the story about the origin of the Taima mandala is a later creation that is believed to have been formed in the Kamakura period, more than 400 years later. The creation of the story about the origin and the reappreciation of the Taima mandala are attributed to the deification of Prince Shotoku and the sanctification of the tomb in the mid-11th century, as well as the sanctification of Taimadera due to the influence of Shugendo (修験道), Japan’s indigenous mountain religion, and the founding of the Jōdo shinshū. In particular, Hōnen’s (法然, 1133-1212) disciple Shōkū (證空, 1177-1247) played an important role in actively copying the Taimadera and disseminating it widely, and the temples of other religions as well as those of the Pure Land Buddhists around Shōkū gradually copied the Taimadera and enshrined it as an object of worship. This culture of copying began to take shape around the middle of the 13th century and continued through the Muromachi and Edo periods. Two methods of copying Taima mandalas were widely used: the same-sized Buddhist images, or images in 1/4, 1/16, and 1/100 scale, and woodblock prints, which were then coloured. In Japan, Taima mandalas have a unique value as sacred images that differ from ordinary Buddhist texts. The culture of transferring images such as Taima mandalas, which are copied in the same shape even if they are different in size, is unique. Not only the copying method, but also the Sanwoel Amitabha Naeyeongdo, which is derived from the Taima mandala and the story about its origin, the Taima mandala Emaki, and the Twenty-Five Bodhisattva Naeyeonghoe, which is not mentioned in this text, are very distinctive Japanese Pure Land cultural phenomena.
Keywords
Taima mandala
Chūjō hime (8th century)
Shàndǎo (613-681)
Illustration of ‘Contemplating the Infinite Life Sutra’
Copying Picture
Shōkū (1177-1247)
Jodo sect
다이마만다라는 서방극락정토를 표현한 불화의 한 유형이다. 763년 다이마데라(當麻寺)에 최초로 봉안된 이 불화는 이후 수많은 전사본(轉寫本)이 제작되는데, 그 원형이 되는 작품과 전사본을 총칭하여 다이마만다라라고 부른다. 다이마만다라는 쥬조히메(中将姫)라는 나라시대 귀족의 딸이 처음 제작하여 다이마데라에 봉안하였다고 알려진 불화이다.
이 불화는 화면의 구성과 도상이 당대 정토종의 대가인 선도(善導, 613-681)의 교학적인 해석에 근거하여 제작되었다. 하지만 다이마만다라의 연기설화는 후대에 성립된 것으로 400여년이 지난 가마쿠라시대에 형성된 것으로 추정되고 있다. 연기설화를 만들어내고 다이마만다라가 재인식되는 배경에는 11세기 중반 쇼토쿠태자의 신격화와 고묘의 성지화, 그리고 일본 고유의 산악종교인 슈겐도(修験道)의 영향으로 인한 타이마데라의 성지화, 그리고 정토종의 개창이 있다. 특히 호넨의 제자 쇼쿠화상(證空和尙, 1177-1247)은 다이마만다라를 적극적으로 전사(傳寫)하여 널리 유포시키는데 중요한 역할을 하였고, 쇼쿠 주변의 정토종승 뿐 아니라 타종단의 사찰에서도 점차 다이마만다라를 전사하여 신앙의 대상으로 모셨다. 이러한 전사문화는 13세기 중엽경에 형성되기 시작하여 무로마치와 에도시대까지 이어졌다. 다이마만다라를 전사하는 방식은 동일한 크기, 혹은 1/4, 1/16, 1/100 크기의 불화로 제작하는 방식과 목판에 판각하여 인쇄한 후 채색하는 방식 두 가지가 널리 활용되었다.
일본에서 다이마만다라는 일반 불화와 다른 성보(聖寶)로서 독보적인 가치를 지닌다. 크기와 방식은 다르지만 다이마만다라를 모사하는 전사 문화는 어디에서도 볼 수 없는 독특한 일본의 전통문화이다. 전사 방식 뿐 아니라 다이마만다라와 그 연기설화에서 파생된 <산월아미타내영도>와 그밖에 다이마만다라 에마키, 그리고 본문에서는 자세히 언급하지 않았지만 다이마데라에서 행해지고 있는 이십오보살내영회 등은 매우 일본적인 정토문화현상이다.
키워드
다이마만다라
주죠히메(8세기)
선도(613-681)
관경변상도
전사본(傳寫本)
쇼쿠(1177-1247)
정토종
References

    ◆ 일차 자료 Primary Sources

     

  1. 『觀無量壽佛經』 (Contemplating the Infinite Life Sutra).
  2. 『日本書紀』 (Chronicles of Japan).
  3. 『興福寺流記』 (Kofukuji Temple history), vol. 1.
  4. 『觀經四帖疏』 (Four Notes on Contemplating the Infinite Life Sutra), by Shandao(善導).
  5. 『般舟讚』 (Pratyutpanna Hymns), by Shandao(善導).
  6. 『當麻曼荼羅疏』 (Commenary on Dangma[Taima] Mandala), vol. 8.

    7.  

    ◆ 도록·보고서 이차 자료 Secondary Sources in Illustrated Catalog and Report

     

  7. KIKUTAKE, Jun’ichi (菊竹淳一) and Utaeg JEONG (鄭于澤). 1997. 『고려시대의 불화』 (Buddhist Painting of the Goryeo Dynasty), Seoul: 시공사 (Sigongsa).
  8. Kyoto National Museum, ed. (京都國立博物館 編). 1973. 『(特別展覽會)淨土敎繪畵』 ([Special Exhibition] Pure Land Teaching Painting). 1973. Kyoto: 京都國立博物館 (Kyoto National Museum).
  9. Nara National Museum, ed. (奈良國立博物館 編). 2006. 『大勸進 重源』 (Daikanshin Chogen). Nara: 奈良國立博物館 (Nara National Museum).
  10. _______. 2013. 『當麻寺: 極樂淨土へのあこがれ』 (Taima-dera: Aspiring to the Pure Land of Utmost Bliss). Nara: 奈良國立博物館·當麻寺·読売新聞社 (Nara National Museum, Taima-dera Temple, Yomiuri Shimbun Company).
  11. _______. 2022. 『中將姬と當麻曼茶羅』 (Zhōng jiàng jī and Taima Mandala). Nara: 奈良國立博物館 (Nara National Museum).
  12. *Research Institute of Dunhuang Arts, ed. (敦煌文物研究所 編). 1987. 『中國石窟: 敦煌莫高窟』 (Chinese Grottoes: Dunhuang Mogao Grottoes), 第3卷. 1987. Beijing: 文物出版社 (Wénwù chūbǎn shè).

    13.  

    ◆ 영어 이차 자료 Secondary Sources in English

     

  13. TEN GROTENHUIS, Elizabeth. 1983. “Rebirth of An Icon: The Taima Mandala in Medieval Japan,” Archives of Asian Art, vol. 36, 59-87.

    14.  

    ◆ 한국어 이차 자료 Secondary Sources in Korean

     

  14. KANG, Dongyun (강동균). 2000. 「日本 淨土敎의 成立과 展開」 [*“The Establishment and Opening of Japanese Pure Land Buddhism”], 『淨土學硏究』 (Journal of the Pure Land Buddhism), vol. 3, 201-242.
  15. KIM, Haewon (김혜원). 2008. 「此岸과 彼岸의 만남: 敦煌 莫高窟의〈西方淨土變〉에 보이는 건축 표현에 대한 一考」 [“Creation of an Ideal Space: A Study of the Architectural Depiction in the Western Paradise Scenes at Mogao Caves”], 『미술사연구』 (Misulsa Yeongu), vol. 22, 27-54.
  16. KIM, Haewon (김혜원). 2010. 「둔황 막고굴 제220굴 서방정토변의 해석에 대한 재검토」 [“On the Problems of the Scriptural Sources of the Western Paradise bianxiꠓang in Dunhuang Mogao Cave 220”], 『미술사와 시각문화』 (Art History and Visual Culture), vol. 9, 28-53.
  17. KIM, Seongsun (김성순). 2014. 「이십오삼매회의 임종행의(臨終行儀)와 영강(迎講)」 [*“The Deathbed Rituals and Welcome Lectures of the Twenty-Five concentration Assembly”], 『동아시아 염불결사의 연구-천태교단을 중심으로-』 (*A Study on the Buddhist Chanting Organization in East Asia: Focusing on the Cheontae Order), Seoul: 비움과소통 (Biumgwasotong), 98-157.
  18. KIM, Seon Hee (김선희). 2021.12. 「고려시대 관경변상도(觀經變相圖) 16관법(十六觀法)의 고찰」 [“A Study on the Sixteen Meditations(Vipaśyanā) of Amitābha (十六觀法) of the Paintings of the Paradise of Amitabha (觀經變相圖) in the Goryeo Dynasty”], 『한국교수불자연합학회지』 (Journal of Buddhist Professors in Korea), vol. 27, no. 3, 85-122. 10.34281/kabp.27.3.5
  19. KIMURA, Kiyotaka (키무라 키요타카), JANG, Hwiok, tr. (장휘옥 옮김). 1991. 『중국불교사상사』 (*Korean translation of 『中國佛敎思想史』 [History of Buddhist Thought in China]), Seoul: 民族史 (Minjoksa).
  20. HAN, Seon Hak (한선학). 2023. 「동아시아 정토 판화의 세계-고판화박물관 소장품을 중심으로」 [*“The World of East Asian Pure Land Prints-Focusing on the Collections of the Museum of Old Prints”], 『동양미술사학』 (Dongyang Misulsahak), vol. 16, 7-38.
  21. JANG, Hwiok (장휘옥). 1996. 『정토불교의 세계』 (*The World of Pure Land Buddhism), Seoul: 불교시대사 (Bulgyosidaesa).
  22. LEE, Seunghui (이승희). 2013. 「고려후기 西福寺 觀經十六觀變相圖의 天台淨土信仰的 해석 [“Interpretations of the Belief in the Pure Land of Cheontae through the Late Goryeo Illustrations of the Sixteen Anapanasati Stages in Saifukuji Temple”]」, 『미술사학연구』 (Korean Journal of Art History), vol. 279-280, 5-34. 10.31065/ahak.279280.279280.201312.001
  23. _______. 2015. 「1323년 知恩院 소장 관경16관변상도와 천태관상수행」 [“The Illustration of the Sixteen Contemplations in Chion’in Dated to 1323 and the Practice of Contemplation in Tiantai School”], 『불교미술사학』 (Bulkyomisulsahak), vol. 20, 39-73.
  24. _______. 2016. 「고려후기 입상 아미타불 도상의 재해석-천태16묘관수행법의 영향을 통해서-」 [“A New Analysis of the Standing Amitaba Images in Late Goryeo Buddhist Paintings: Based on the Influence of the Sixteen Meditations Practice of Tiantai Buddhism”], 『미술사학연구』 (Korean Journal of Art History), vol. 289, 65-92. 10.31065/ahak.289.289.201603.003
  25. LYU, Ma Ri (유마리). 1993. 「韓國 觀經變相圖와 중국 觀經變相圖의 比較 硏究」 [*“Comparative study between ‘Transformation Tableaux of Visualizations of the Visualization Sutra’ in Korean and Chinese”], Ph.D. Dissertation, Dongguk University.
  26. _______. 1992. 「中國 敦煌 莫高窟(17窟) 發見의 觀經變相圖 (파리 기메 東洋博物館藏)와 韓國 觀經變相圖 (日本 西福寺藏)의 比較 考察」 [“A Comparative Study between the Guanjingbianshangtu (觀經變相圖) discovered in Cave 17 of the Mogao Grottoes in Dunhuang, China, and the Korean Guanjingbianshangtu held in the Sehfuji Temple in Japan”], 『講座美術史』 (The Art History Journal). vol. 4, 41-78.
  27. _______. 1997. 「중국 돈황 관경변상도(대영박물관장)의 연구」 [*“Research by The Illustration of Gwan Muryangsugyeong’(Collection of the British Museum) in Dunhuang, China”], 『문화재』 (Munhwajae - Annual Review in Cultural Heritage Studies), vol. 30, 137-164.
  28. MICHIHATA, Yoshihide (道端良秀), Gyehwan, tr. (계환 옮김). 1996. 『중국불교사』 (*Chinese Buddhist History), Seoul: 우리출판사 (Woory Publsher).
  29. MOCHIDZUKI, shinkō (望月信亨), LEE, Taewon, tr. (李太元 譯). 1997. 『中國淨土敎理史』 [*History of Pure Land Buddhist Doctrine in China], Seoul: 운주사 (Unjusa).
  30. TSUBOI, Shunei (坪井俊映), LEE, Taeyuan, tr. (李太元 譯). 1995. 『淨土三部經槪說』 (The Three Pure Land Sutras), Seoul: 운주사 (Unjusa).

    31.  

    ◆ 일본어 이차 자료 Secondary Sources in Japanese

     

  31. Gangouji bunkazai Research Institute, ed. (元興寺文化財硏究所 編). 1987. 『日本淨土曼茶羅の硏究』 (*A Study of Japanese Pure Land Mandalas), Tokyo: 中央公論美術出版 (Chūōkōron bijutsu Publishing).
  32. HAMASHIMA, Masashi (濵島正士). 1989. 「淨土信仰と法華經信仰」 [“Pure Land Belief and Lotus Sutra Belief”], in 『圖說 日本の美術 (三)-淨土敎』 (*Illustration Japanese Art 3: Pure Land Buddhism), ed. by M. HAMASHIMA. Tokyo: 新潮社 (Shinchōsha), 18-34.
  33. ITO, Yuimakoto (伊藤唯眞). 1989. 「淨土宗と鎌倉新佛敎」 [*“Pure Land School and Kamakura New Buddhism”], in 『圖說 日本の美術 (三)-淨土敎』 (*Illustrated Guide to Japanese Art 3: Pure Land Buddhism), ed. by M. HAMASHIMA. Tokyo: 新潮社 (Shinchōsha), 350-356.
  34. ITO, Yuimakoto, Tōru SHINBO, and Masash HAMASHIMA (伊藤唯眞, 眞保 亨, 濵島正士). 1989. 「淨土宗の成立と祖師信仰」 [*“The Establishment of the Pure Land School and Ancestor Veneration”], in 『圖說 日本の美術 (三)-淨土敎』 (*Illustrated Guide to Japanese Art 3: Pure Land Buddhism), ed. by M. HAMASHIMA. Tokyo: 新潮社 (Shinchōsha), 285-348.
  35. KATO, Yoshiro (加藤善郞). 2007. 「當麻曼茶羅硏究の意義」 [“The Significance of Taimamanchara Research”], 『西山學苑硏究紀要』 (Journal of Seizan Academy Research), vol. 2, 29-54.
  36. KATSKI, Genichiro (勝木言一郞). 1992. 「敦煌莫高窟二二O窟阿彌陀淨土變相圖考」 [*“A Study of the Disguised Appearance of Amitabha’s Pure Land in Cave 220 of Mogao Grottoes in Dunhuang”], 『佛敎藝術』 (Buddhist Art), vol. 202. 67-92.
  37. KAWAHARA, Yoshio (河原由雄). 1989. 『浄土図-日本の美術』 (*Pure Land Picture - Japanese Art), vol. 272, Tokyo: 至文堂 (Shibundo).
  38. _______. 1993. 「淨土曼茶羅から迎攝圖へ-高麗‧李朝觀經變相圖の展開」 [*“From Pure Land Mandala to A Welcoming Scene-Expansion of the Sutra Contemplation of the Goryeo and Joseon Dynasty”], 『日韓兩國所在韓國佛敎美術共同調査硏究 硏究成果報告書』 (Japan and South Korea jointly Conduct Research on Buddhist Art in Korea Research Results Report), Nara: 奈良國立博物館 (Nara National Museum).
  39. KITAZAWA, Natsuki (北澤菜月). 2013. 「當麻寺と當麻曼荼羅の信仰史総論」 [*“An overview of the religious history of Taima-dera Temple and Taima Mandala”], in 『當麻寺 : 極樂淨土へのあこがれ』 (*Taima-dera Temple: Longing for the Land of Paradise), ed. by Nara National Museum (奈良國立博物館). Nara: 奈良國立博物館·當麻寺·読売新聞社 (Nara National Museum, Taima Temple, Yomiuri Shimbun), 6-16.
  40. MATSUMOTO, Eiichi (松本榮一). 1937. 「阿彌陀淨土變相及觀經變相」 [“Illustration of Amita Pure Land and Gwan Muryangsugyeong”], in 『敦煌畵の硏究』 (Study of Dunhuang Paintings), ed. by Eiichi MATSUMOTO. Tokyo: 東方文化學院東京硏究所 (Touhou Bunka Gakuin Tokyo Institute).
  41. MATSUNAGA, Tomomi (松永知海). 1983. 「當麻曼茶羅攷」 [*“Study on the Mandala of Taima-dera”], 『佛敎大學大學院硏究紀要』 (Journal of Buddhist University Graduate School Research) , vol. 11, 1-24.
  42. NAKAMURA, Kōji (中村興二). 1986. 「わが國の淨土變相と敦煌」 [*“The Transformation Tableaux of Visualizations of Pure Land in our Country and Dunhuang”], in 『敦煌莫高窟』 (Dunhuang Mogao Grottoes), vol. 3, ed. by *Research Institute of Dunhuang Arts (敦煌文物硏究所). Tokyo: 平凡社 (Heibonsha).
  43. NARITA, Toshiharu (成田俊治). 1981. 「敦煌淨土敎繪と善導淨土敎」 [*“The Picture of the Pure Land Buddhism in Dunhuang and Pure Land Sect od Shàndǎo”], in 『善導敎學の成立とその展開』 (The Establishment and Development of Shàndǎo’s Teachings), ed. by Toshihara NARITA. Tokyo: 山喜房佛書林 (Yamakibo Butsho Forest Publisher).
  44. NISHIYAMA, Atsushi (西山 厚). 2006. 「重源と勸進」 [“Chogen and Kanshin”], in 『大勸進 重源』 (Daikanshin Chogen), ed. by Nara National Museum. Nara: 奈良國立博物館 (Nara National Museum).
  45. OHARA, Yoshifumi (大原嘉豐). 2005. 「觀經十六觀變相圖」 [“Transformation Tableaux of the Sixteen Visualizations of the Contemplating the Infinite Life Sutra”], in 『國華』 (Kokka), vol. 1313, ed. by Asahi (朝日新聞出版). Tokyo: 國華社 (Kokka-sha).
  46. ŌNISHI, Makiko (大西磨希子). 2002. 「敦煌莫高窟の西方淨土變に描かれた 『觀無量壽經』 モテイ-フ」 [*Motif of ‘Contemplating the Infinite Life Sutra' Depicted on the Western Pure Landscape of the Mogao Caves in Dunhuang], 『南都佛敎』 (Nanto bukkyō), vol. 83, 62-95.
  47. _______. 2004. 「初唐期の西方淨土變と 『觀無量壽經』－敦煌莫高窟の作例てがかりに」 [*“The Western Pure Land Transformation in the Early Tang Dynasty and ‘Gwan Muryangsugyeong'-As a reference for the Mogao Caves in Dunhuang”], 『佛敎藝術』 (Buddhist Art), vol. 273, 9-32.
  48. _______. 2007. 『西方淨土變の硏究』 (*A Study on Transformation Tableaux of Visualizations of Western Pure Land), Tokyo: 中央公論美術出版 (Chūōkōron bijutsu Publishing).
  49. _______. 2012. 「敦煌発現の宮廷写経について」 [*“About Copying the Buddhist Sutras by Royal Family Discovered in Dunhuang”], 『敦煌寫本研究年報』 (Dunhuang Manuscript Studies Annual), vol. 6, 41-65.
  50. _______. 2014. 「綴織当麻曼荼羅の九品来迎図に関する復原的考察」 [*“Restorative Consideration about of Gupumnae Yeongdo (九品来迎図) Tapestry Taima Mandala”], 『印度學佛教學研究』 (Journal of Indian and Buddhist Studies), vol. 63, 97-104. 10.4259/ibk.63.1_97
  51. ŌTA, Eizō (太田英蔵). 1963. 「綴織当麻曼荼羅について」 [*“About Tapestry Taima Manchala”], in 『国宝綴織当麻曼荼羅』 (National Treasure Tapestry Taima Mandala), Kyoto: 便利堂 (Benri-dō).

    52.  

    ◆ 중국어 이차 자료 Secondary Sources in Chinese

     

  52. Duànwénjié(段文傑). 1987. 「唐代前期莫高窟藝術」 [“Mogao Grottoes Art in the Early Tang Dynasty”], in 『中國石窟: 敦煌莫高窟』 (Chinese Grottoes: Dunhuang Mogao Grottoes), 第3卷, ed. by *Research Institute of Dunhuang Arts (敦煌文物硏究所). Beijing: 文物出版社 (Wénwù chūbǎn shè), 161-176.
  53. Zhāngjǐngfēng(张景峰). 2010. 「莫高窟第431窟初唐观无量寿经变与善导之法门在敦煌的流传」 [“Cave 431 of Mogao Grottoes: The Transformation of the Infinite Life Sutra in the Early Tang Dynasty and the Spread of Shandao’s Dharma in Dunhuang”], 『敦煌研究』 (Dunhuang Studies) 2010年 (the year 2010) 4期 (4th term), 34-43.

    54.  

    【참고 웹싸이트】

     

  54. 忘れへんうちに Avant d’oublier, http://avantdoublier.blogspot.com/ (2023.11.01. 검색).
  55. 聖德太子繪傳, https://openmuseum.tw/ (2023.11.02. 검색)
  56. 叡福寺と聖徳太子, https://eifukuji-taishi.jp/yurai.php (2023.12.10. 검색)
  57. 「國指定文化財等データベース」, (http://www.bunka.go.jp/bsys/ (2023.12.10. 검색)
  58. 『廟崛偈』 文, “過去七仏法輪所 大乗相応功德地 -度参詣離悪趣 決定往生極楽界”. 親鸞真蹟の発見-『廟崛偈』 文と 『涅槃経』 文-, (https://www.chugainippoh.co.jp/article/ron-kikou/ron/20190726-001.html (2023.12.09. 검색)
  59. 証空, https://ja.wikipedia.org/wiki/ (2023.11.03. 검색)
Information
  • Publisher :Korean Association of Buddhist Studies
  • Publisher(Ko) :불교학연구회
  • Journal Title :Korea Journal of Buddhist Studies
  • Journal Title(Ko) :불교학연구
  • Volume : 77
  • No :0
  • Pages :183∼222
  • DOI :https://doi.org/10.21482/jbs.77..202312.183
Journal Informaiton Korea Journal of Buddhist Studies Korea Journal of Buddhist Studies
E-Book
Online Submission
  • KISTI Cited-by
  • NRF_영문_불교학연구
  • KCI 문헌 유사도 검사_영문_불교학연구
  • orcid
  • open access
  • ccl
  • Re-KABS
Journal Informaiton Journal Informaiton - close