Art History; 佛教藝術=Buddhist Art; 韓國佛教=朝鮮佛教=Korean Buddhism=Koryo Buddhism=Choson Buddhism; 中國佛教=Chinese Buddhism
摘要
Abstract: The subject of this study is the contemplating Bodhisattva images in Asia, with special emphasis on China and Korea. The contemplating figure sits in a particular non-yogic pose of meditation. It is the major purpose of this study to determine the iconography of the contemplating images of India, Central Asia, China, Korea and Japan, and to make a comprehensive chronology and attribution of provenance for the Korean contemplating images. In Gandhara the contemplating posture was utilized for deities of different iconographic identities, such as Avalokitesvara, Siddhartha, Manjusr(')i and others. Most popular of these are the representations of Avalokitesvara and Siddhartha. The contemplating images of China and Kyzil predominantly represent Siddhartha at the First Meditation. From present evidence it appears that the Maitreya images in contemplating pose is first seen in Korea. The usage of the contemplating pose for Maitreya Bodhisattva may possibly have been formulated under the impetus of the Maitreya cult in Korea. The Samguk Yusa indicates that Maitreya was personified as youthful Hwarang in the Old Silla kingdom. The Hwarangs were young men who were active in fighting for the unification of the Three Kingdoms. Korean contemplating images show a development from an early style, through a transitional style, to a mature and a late style, as they were influenced by various Chinese artistic currents. The early style of Korean contemplating Bodhisattva figures was influenced by the Eastern Wei, Northern Ch'i, and Liang style in China, and it dates to ca. 525-575. The transitional style was influenced by the early Sui style, and dates to ca. 581-610. The mature style was influenced by the late Sui style and dates to ca. 610-640. The late style was influenced by the early T'ang style and dates to ca. 640-700. The Korean contemplating images manifest regional styles of Koguryo, Paekche and Old Silla, which are themselves related to the different regional styles of China. However, the Korean style developed by Paekche became mature by the seventh century, and was no longer so closely related to Chinese prototypes.
