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Seokbulsa cave temple has a distinctive meaning that its name “seokbul,”itself refers to the “stone Buddha.”Structure of the Seokbulsa cave temple is distinguished from the Indian and Chinese grottos, that its main sanctuary has a domed ceiling and is round in its plan and that the cave is composed of forty Buddhist images including the main Buddha, bodhisattvas, bhikshus, Four Heavenly Kings, Vajrapanis and Eight Parivaras.
The iconographic origin of the main Buddha of Seokbulsa temple goes back to the Buddha of Enlightenment at Mahabodhi Temple in Bodhgaya, India. However, the meaning of the Enlightened Buddha was interpreted anew by Unified Silla Avatamsaka practitioners like Monks Uisang and Pyohun in their view of the concept of the Buddha. They understood that the Enlightened Buddha at Bodhgaya is Sakyamuni, and his preaching just after his enlightenment, while in his Samadhi, was the Avatamsaka sutra. It is, further, perceived that the principal preacher of the Avatamsaka sutra is recognized as the emanated body of “Ten Buddhas.”Therefore, the main Buddha of Seokbulsa cave temple is Sakyamuni as well as the Buddha who preached the teaching of the Avatamsaska sutra at the same time.
The main Buddha as symbolic form of Ten Buddhas, ten bodhisattva figures in the upper niches on the walls of the main sancuary, and ten bhikshu images in Seokbulsa cave temple originate from the sutras such as the Sutra of the Past and the Present Karma(過去現在因果經) which describes about the life of Sakyamuni. In other words, when reviewing the life of Sakyamuni, born as Prince Gautama Siddhartha, then an enlightened Buddha, one can realize that the Prince has become the Buddha by passing through the stages of becoming a bhikshu to the bodhisattvahood. Therefore, the composition of bhikshu, bodhisattva, and Buddha in the Seokbulsa cave temple represents the process of Sakyamuni’s practice in achieving Enlightenment. Although these Buddhist figures find their iconographic origins in the journey of the historic Sakyamuni, I came to understand that they were reinterpreted within the belief and the teaching of Avatamsaka in Silla. As they are related to the number “ten,”to which Avatamsaka sutra practitioners of Uisang’s followers had given much attention to the main Buddha Sakyamuni in the context of the concept of the Ten Buddhas in the teaching of the Avatamsaka sutra.
The ten bodhisattvas enshrined in the niches above on the wall are likely to be a combination of the images from the Vimalakirti sutra and the concept of eight great bodhisattvas. The eight great bodhisattvas in Seokbulsa cave temple are believed to be derived from the Sutra of the Monadala of Eight Great Bodhisattvas(八大菩薩曼茶羅經). From the perspective of the Mandala, the eight boddhisattvas presently remaining in Seokbulsa cave temple are Vimalakirti(維摩居士), Manjusri(文殊菩薩) from the assembly of the Vimalakirti sutra, and the rest six figures are from the Eight Great Boddhisattvas. It is assumed that the two missing boddhisattvas are Sarvanivaranaviskambhin(除盖障菩薩) and Akasagarbha(虛空藏菩薩). I suggest that, they are placed in the niches in the following clockwise order; Manjusri from the scene of the Vimalakirti debate, Ksitigarbha(地藏菩薩), Avalokitesvara(觀音菩薩), Mitreya(彌勒菩薩) and Akasagarbha (missing). Then passing over the nimbus of the image eleven-headed Avalokitesvara are Samantabhadra(普賢菩薩), Vajarapani Bodhisattva(金剛手菩薩), Manjusri, Sarvanivaranaviskambhin and Vimalakirti.
Unlike the majority of the temples of the Unified Silla in the eighth century were constructed on level ground or on the slope of a hill, the Seokbulsa cave temple was built near the summit of the Mt. Toham. And as if to prove that it was modeled after the Buddha of Enlightenment at the Mahabodhi Temple, the sunrise from the east lights up the face of the main Buddha on the day of Sakyamuni’s enlightenment, December 8 in the lunar calendar. The fact that Seokbulsa cave temple faces the easterly direction is connected to the enlightenment of the historic Buddha Sakyamuni.
The iconographic origin of the main Buddha of Seokbulsa temple goes back to the Buddha of Enlightenment at Mahabodhi Temple in Bodhgaya, India. However, the meaning of the Enlightened Buddha was interpreted anew by Unified Silla Avatamsaka practitioners like Monks Uisang and Pyohun in their view of the concept of the Buddha. They understood that the Enlightened Buddha at Bodhgaya is Sakyamuni, and his preaching just after his enlightenment, while in his Samadhi, was the Avatamsaka sutra. It is, further, perceived that the principal preacher of the Avatamsaka sutra is recognized as the emanated body of “Ten Buddhas.”Therefore, the main Buddha of Seokbulsa cave temple is Sakyamuni as well as the Buddha who preached the teaching of the Avatamsaska sutra at the same time.
The main Buddha as symbolic form of Ten Buddhas, ten bodhisattva figures in the upper niches on the walls of the main sancuary, and ten bhikshu images in Seokbulsa cave temple originate from the sutras such as the Sutra of the Past and the Present Karma(過去現在因果經) which describes about the life of Sakyamuni. In other words, when reviewing the life of Sakyamuni, born as Prince Gautama Siddhartha, then an enlightened Buddha, one can realize that the Prince has become the Buddha by passing through the stages of becoming a bhikshu to the bodhisattvahood. Therefore, the composition of bhikshu, bodhisattva, and Buddha in the Seokbulsa cave temple represents the process of Sakyamuni’s practice in achieving Enlightenment. Although these Buddhist figures find their iconographic origins in the journey of the historic Sakyamuni, I came to understand that they were reinterpreted within the belief and the teaching of Avatamsaka in Silla. As they are related to the number “ten,”to which Avatamsaka sutra practitioners of Uisang’s followers had given much attention to the main Buddha Sakyamuni in the context of the concept of the Ten Buddhas in the teaching of the Avatamsaka sutra.
The ten bodhisattvas enshrined in the niches above on the wall are likely to be a combination of the images from the Vimalakirti sutra and the concept of eight great bodhisattvas. The eight great bodhisattvas in Seokbulsa cave temple are believed to be derived from the Sutra of the Monadala of Eight Great Bodhisattvas(八大菩薩曼茶羅經). From the perspective of the Mandala, the eight boddhisattvas presently remaining in Seokbulsa cave temple are Vimalakirti(維摩居士), Manjusri(文殊菩薩) from the assembly of the Vimalakirti sutra, and the rest six figures are from the Eight Great Boddhisattvas. It is assumed that the two missing boddhisattvas are Sarvanivaranaviskambhin(除盖障菩薩) and Akasagarbha(虛空藏菩薩). I suggest that, they are placed in the niches in the following clockwise order; Manjusri from the scene of the Vimalakirti debate, Ksitigarbha(地藏菩薩), Avalokitesvara(觀音菩薩), Mitreya(彌勒菩薩) and Akasagarbha (missing). Then passing over the nimbus of the image eleven-headed Avalokitesvara are Samantabhadra(普賢菩薩), Vajarapani Bodhisattva(金剛手菩薩), Manjusri, Sarvanivaranaviskambhin and Vimalakirti.
Unlike the majority of the temples of the Unified Silla in the eighth century were constructed on level ground or on the slope of a hill, the Seokbulsa cave temple was built near the summit of the Mt. Toham. And as if to prove that it was modeled after the Buddha of Enlightenment at the Mahabodhi Temple, the sunrise from the east lights up the face of the main Buddha on the day of Sakyamuni’s enlightenment, December 8 in the lunar calendar. The fact that Seokbulsa cave temple faces the easterly direction is connected to the enlightenment of the historic Buddha Sakyamuni.
목차
Ⅰ. 머리말
Ⅱ. 역사적인 석가모니불의 正覺과 석불사 주존
Ⅲ. 華嚴 經主 十佛과 석불사 도상
Ⅳ. 맺음말
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