논문 : 말법시대(末法時代)의 석굴: 영유(靈裕)와 대주성굴(大住聖窟)
분야
예체능 > 미술
저자
김선경 ( Sun Kyung Kim )
발행기관
미술사와 시각문화학회
간행물정보
미술사와 시각문화 2006년, 제5권 250~285페이지(총36페이지)
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    영문초록
    In late sixth-century China, the Buddhist discourse of mofa, meaning "decline of the Law," an idea first present within India, was systematized into a coherent scheme, leaving an indelible imprint on the religious and social landscape of the time, The search for the material corollary to the prevalence of the mafa ideology, however, has so far concentrated primar-ily on the stone carvings of Buddhist texts, neither extending to an investi-gation into the other material objects nor fully considering the broader con-texts of the installations where the texts were engraved, As an attempt to fill this gap, the present study explores how a cave sanctuary became the center stage for the public assertion of spiritual legiti-macy in the age of mofa. Constructed during one of the most tumultuous periods in Chinese history, the Dazhusheng Cave operated as a visual memento of the mala ideology and an embodiment of the monastic ideals of life and death for a celebrated monastic elite, Lingyu (518-605), I argue that the prompt adoption at the cave of some recently translated mola-related sutras, such as the Yuezangfen (Candragarbha section) of the Dafangdeng dajljing (Mabi`lsatrp1ipata Sutra) and the Fufazang yinyuanzhuan (Traditions of the Causes and Conditions of Transmission of the Dharma Treasury), together with their augmentation into the rank of canonized texts, highlights the depth of indoctrimtion in mola ideology, In addition, the engraving of the repentance-ritual texts, the presence of three Buddha triads, seven Past Buddhas, thirty-five Buddhas, and Spirit Kings, as well as the meticulously inscribed names of each deity, all sug-gest that the well-organized repentance ritual was performed inside, Thus, the Dazhusheng Cave, conventionally called a "meditation-visualization cave," was not only a site for the practice of meditative visualization but also played host to variegated visual experiences and repentance rituals while also serving as an efficient device for asserting a rhetorical claim of spiritual and doctrinal orthodoxy.
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