earticle

영어

This study aims to reveal the internal structure of the seven types of Dharani Sutra discovered inside the Dry-lacquered Seated Bhaisajyaguru Buddha of Cheongnyangsa Temple, Bonghwa, and to examine them from two perspectives. First, from the perspective of the mandala iconography, it is said that the Ilcheyeorae jeonsinsari bohyeop jineon (i.e. the Dharani Sutra, which is like a casket containing the entire sarira of Sakyamuni Buddha), published in 1239, was produced with the mandala iconography in mind based on the kham (space) of the five element mantras of Vairocana . In addition, the study as revealed that the Palyeopsimryeon samsipchiljon mandala (i.e. the mandala of thirty-seven disciples) was made by adopting the image of the Jungdaepalyeopwon (i.e. Vairocana surrounded by eight disciples standing on eight lotus petals) among Garbhadhatu mandala, but that the Samsipchiljon mandala of Vajradhatu mandala were placed as a bija, showing a combination of the styles of Vajradhatu and Garbhadhatu mandalas. This study has also revealed that the three types of Dharani synthesizing various types of mantras, namely, the Ilcheyeorae jeonsinsari bohyeopjineon jebulbosal mahasalsapja hapbuyiryun, the Ilcheyeorae jeonsinsari bohyeopjineon samsipchiljon jong ja mandala palyeopilyun, and the Buljeongsimin bu samjong jineon, actually include fifteen types of mantras in total; and it has also examined each Dharani’s source and content as well as the changing aspects of each phrase of the mantras. In this process, regarding the Jeseongmunjineon (Sravaka mantra), the study has raised the possibility of an error in the interpretatio of the Dharani sutra during the Goryeo dynasty, in which the title of Jeyeongakjineon (Pratyekabuddhayāna mantra) was mistranslated as Jeseongmunjineon, and has also identified the wishes of the people of Goryeo as embodied in the combination of complex Dharani sutras.

한국어

본 논문은 <봉화 청량사 건칠약사여래좌상>에서 수습된 다라니 7종의 내적 구조를 밝힌 것으로, 이를 두 가지 측면에서 고찰하였다. 먼저 만다라 도상의 관점에서, 1239년 간행된 <일체여래전신사리보협진언>은 대일여래의 종자 캄( )을 중심으로 한 만다라 도상을 염두한 채 제작된 것임을 말하였다. 또한 <팔엽심련삼십칠존만다라>는 태장계만다라 가운데 中臺八葉院의 형상을 차용한 것임을 밝혔으며, 그럼에도 만다라에 모신 존상의 경우 ‘금강계 삼십칠존만다라’의 존상을 種 字로 배치하여 금강계만다라와 태장계만다라가 절충된 형식이 보인다는 점을 언급하였다. 또한 諸種 진언을 종합한 3종의 다라니로서 <일체여래전신사리보협진언 제불보살마하살삽자합부이륜>과 <일체여래전신사리보협진언 삼십칠존종자만다라 팔엽 일륜>, <불정심인 附 3종 진언>을 분석해 총 15종의 진언이 실려 있음을 밝혔으며, 각 다라니의 出典과 내용, 각 진언구의 변화 양상을 고찰하였다. 그리고 이 과정 속에 <諸聲聞眞言>의 경우 <諸緣覺眞言>을 잘못 표기한것이라는 고려시대 다라니 제작상의 오류 가능성을 말하였으며, 복합된 다라니의 조합 속에서 당시 사람들의 願意를 파악하기도 하였다.