미륵을 만나다: 감산사 미륵보살상의 형식과 의미에 대한 해명 (The Vision of Maitreya in an Image from Gamsansa)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 9호 / 8 ~ 27페이지
· 저자명 : 이주형

초록

감산사의 미륵보살상과 아미타불상은 광배 뒷면에 새겨진 봉헌 명문을 통해 상의 조성자, 조성 경위 등을 자세히 알 수 있는, 한국 고대 불교조각사의 매우 귀중한 유품이다. 미륵보살상은 동아시아의 미륵보살상 가운데 매우 이례적으로 입상형식을 취하고 있는 점이 주목된다. 이 논문은 그 연유를 봉헌자인 김지성의 미륵보살 관상체험에서 찾으며 그 의미를 해석한다.

영어초록

In writing a narrative on early Korean Buddhist art, one faces, or so complains, perennial difficulties that stem from the inherent nature of materials in the field. Compared with the Chinese or Japanese field, only a meager number of images that would have had higher cultic importance to contemporary Buddhists remain. Also, literary evidence, from both epigraphical and historical sources, which would have greatly helped contextualizing images, is extremely limited. In this regard, two stone images, a Buddha and a bodhisattva from Gamsansa, a Buddhist temple in Gyeongju, are probably the most conspicuous exceptions. Datable to around 719, they are sizeable images with a great degree of presence, and were obviously installed as main cult statues in the temple. More importantly, they carry unusually long inscriptions carved on the back of their mandorlas, which convey rich information regarding the donor, his career and personal aspirations, the subjects of the images, and the purpose of creation. Thus, we are exceptionally well informed about these images in terms of the circumstances of their dedication. This paper concerns these two images, focusing on the bodhisattva. It especially addresses the reason for the selection of a rare standing type for the bodhisattva image by connecting it to the donor Kim Jiseong’s personal visualization of Maitreya.

참고자료

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