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This paper examined three representative Uṣṇīṣavijayā Dhāraṇī Mandalas in Liao pagodas. In the mid-eleventh century, as exemplified in the mandalas from Chaoyang North Pagoda and Yingxian Timber Pagoda, the Uṣṇīṣavijayā Dhāraṇī Mandala were designed based on the Tang dynasty ritual manual and sutra translated by Amoghavajra. At the same time, these mandalas, as well as the Uṣṇīṣavijayā Dhāraṇī Mandala at the Daming Pagoda from the late 11<SUP>th</SUP> century, share details not bound to the Tang scriptures. Their mostly matching arm positions suggest that they shared a visual model for the Uṣṇīṣavijayā Dhāraṇī Mandala that was developed and circulated in Liao. In addition, it is notable that these Uṣṇīṣavijayā Dhāraṇī Mandalas from Liao were all made in different formats. Chaoyang North Pagoda’s was made in two-dimensional form on gold plate, Yingxian Timber Pagoda’s in three-dimensional form using wood and clay, and Daming Pagoda’s in relief on the pagoda’s exterior. Their locations also varied, ranging from Liaoning and Shanxi Provinces to Inner Mongolia. Despite such differences of medium and region, they shared the same model and show similarities even in such details as the bodhisattvas’ arm positions.
By the late eleventh century, however, the Uṣṇīṣavijayā Dhāraṇī Mandala had evolved into a more complicated form in Liao, combining more deities not only from esoteric Buddhism but also from Huayan and even Pure Land Buddhism. The textual mandala engraved on the ceiling of Baitayu Pagoda aptly exemplifies Liao modification of the Uṣṇīṣavijayā Dhāraṇī Mandala. Since Baitayu Pagoda was built for the rebirth of the eminent Liao monk Sixiao, the contents of its Uṣṇīṣavijayā Dhāraṇī Mandala help us infer, though only partially, the contents of Sixiao’s lost commentary and exegesis in which he probably discussed the Uṣṇīṣavijayā Dhāraṇī Mandalas (i.e., Eight Great Bodhisattvas Mandala with Viarocana Buddha in the center). As Sixiao was one of the most erudite monks in Liao, whose writings were circulated in neighboring lands, including the Koryŏ, it is difficult to imagine that his writings on the mandala had no influence on the mandala prepare for his afterlife at Baitayu Pagoda. This modified Uṣṇīṣavijayā Dhāraṇī Mandala appears to have circulated widely in late-eleventh-century Liao as the deities newly added in this mandala were also featured in Daming Pagoda’s mandala. All of these factors suggest that the Uṣṇīṣavijayā Dhāraṇī played an important role in Liao Buddhism and contributed to the development of mandalas and pagoda architecture unique to the Liao empire.
By the late eleventh century, however, the Uṣṇīṣavijayā Dhāraṇī Mandala had evolved into a more complicated form in Liao, combining more deities not only from esoteric Buddhism but also from Huayan and even Pure Land Buddhism. The textual mandala engraved on the ceiling of Baitayu Pagoda aptly exemplifies Liao modification of the Uṣṇīṣavijayā Dhāraṇī Mandala. Since Baitayu Pagoda was built for the rebirth of the eminent Liao monk Sixiao, the contents of its Uṣṇīṣavijayā Dhāraṇī Mandala help us infer, though only partially, the contents of Sixiao’s lost commentary and exegesis in which he probably discussed the Uṣṇīṣavijayā Dhāraṇī Mandalas (i.e., Eight Great Bodhisattvas Mandala with Viarocana Buddha in the center). As Sixiao was one of the most erudite monks in Liao, whose writings were circulated in neighboring lands, including the Koryŏ, it is difficult to imagine that his writings on the mandala had no influence on the mandala prepare for his afterlife at Baitayu Pagoda. This modified Uṣṇīṣavijayā Dhāraṇī Mandala appears to have circulated widely in late-eleventh-century Liao as the deities newly added in this mandala were also featured in Daming Pagoda’s mandala. All of these factors suggest that the Uṣṇīṣavijayā Dhāraṇī played an important role in Liao Buddhism and contributed to the development of mandalas and pagoda architecture unique to the Liao empire.
목차
Ⅰ. Introduction
Ⅱ. Text and Image: Early Liao Mandala and Tang Scriptures
Ⅲ. Three-dimensional Mandala
Ⅳ. Textual Mandala: Modification and Expansion
Ⅴ. Conclusion
References
Abstract
참고문헌 (52)
참고문헌 신청
Bada pusa mantuoluo jing 八大菩薩曼茶羅經, T. 20, no. 1167
Dafangguang fo huayan jing 大方廣佛華嚴經, T. 9, no. 278; and T. 10, no. 279
Damiao jingang daganlu junnali yanman chisheng foding jing 大妙金剛大甘露軍拏利焰鬘熾盛佛頂經, T. 19, no. 965
Foding zunsheng tuoluoni jing 佛頂尊勝陀羅尼經, T. 19, no. 967
Foding zunsheng tuoluoni niansong yigui fa 佛頂尊勝陀羅尼念誦儀軌法, T. 19, no. 972
Dafangguang fo huayan jing 大方廣佛華嚴經, T. 9, no. 278; and T. 10, no. 279
Damiao jingang daganlu junnali yanman chisheng foding jing 大妙金剛大甘露軍拏利焰鬘熾盛佛頂經, T. 19, no. 965
Foding zunsheng tuoluoni jing 佛頂尊勝陀羅尼經, T. 19, no. 967
Foding zunsheng tuoluoni niansong yigui fa 佛頂尊勝陀羅尼念誦儀軌法, T. 19, no. 972
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UCI(KEPA) : I410-ECN-0101-2020-609-001583167