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手印의 言語的 象徵性과 그 展開=Linguistic symbolism and development of Hasta-mudras |
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| 著者 |
김영덕 (著)=Kim, Young-duk (au.)
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| 掲載誌 |
불교학보=佛教學報
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| 巻号 | v.62 n.0 |
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| 出版年月日 | 2012.08 |
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| ページ | 253 - 278 |
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| 出版者 | 동국대학교 불교문화연구원=Institute for Buddhist Culture |
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| 出版サイト |
https://abc.dongguk.edu/kbri/
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| 出版地 | Korea [韓國] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 韓文=Korean |
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| ノート | 저자정보: 위덕대학교 불교문화학과 교수 |
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| キーワード | 手印; 三密; 眞言; dance; 舞踊; 結印; Hasta-mudrā; mantra; symbolic gesture; Buddhist tantric |
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| 抄録 | 손에 의한 언어는 궁극적으로는 진리로부터 방사되는 상징적인 진언으로서 육체적인 의미를 초월하고 있다. 첫째, 수인은 그 연원을 인도의 생활과 무용에서부터 찾아볼 수 있으며, 불교설화, 부처의 32상 등이 그 소재가 되어 다양한 손모양을 완성시켜 왔다. 먼저 形이 만들어지고 그 形에 따른 이론이 마련되며, 다시 이 形에서 또 다른 유사의 形을 파생하는과정을 통해 印이 양산된다. 둘째, 수인은 열손가락을 조합한 정지된 동작으로서 하나의 사실만을 전해주는 것이 아니라, 마치 춤과 같이 끊임없는 동작을 보여주는 동적인 흐름이다. 그리고 그흐름은 의사전달의 매체로써 입으로 하는 언어보다 더욱 강력하게 진실과 그 수행을 전해준다. 하나로 연결되는 이 이야기 속에는 향상문으로서 수행의 次第와 구경방편의 입장에서 향하문을 엿볼 수 있다. 그것은 수인이 여래의 영상으로서 우리들에게 현현하는 것이기 때문이다. 셋째, 결인의 자세로서 수인을 결할 때에는 최대한의 공경심과 마음의 준비를 갖추고 법도에 맞추어 결인하라고 설하고 있다. 또한 인법을 전수받을 수 없는 자와 받을 수 있는 자의 자격을 규제하고 있다. 그 이유는 진언과 인계로서 제자에게 전하여 부촉하는 것은 진여의 법이기 때문이다.
The purpose of this study is to consider of Hasta-mudrā, which is the symbolic gestures of the hands of Buddhist mudrā originated from Indian religious tradition. In Indian religious practice, the role of mudrās as a concentration device has some similarity to the practice of prayer. In both case, adherents use outer physical actions to help concentrate their inner being on their own spiritual
practice.
Until now it has been understood among several scholars as a fixed shape or
simple symbolical language with hands and fingers for Hasta-mudrā. Whereas I would argue that it is not fixed shape and not simple meaning from the Buddhist tantric thought standpoint as well as I would suggest that learned about its application and the results are as follows:
First, it has long history beyond vedic period go back even further to Indus civilization. Mudrās are religious gestures, normally made with the hands or fingers, used in Buddhist fables, Buddhist iconography specially 32 gestures of Buddha, as well as dance and ritual, which are said to have deeper symbolic meaning and power. They are an important part of Buddhism and they are frequently utilized in Buddhist meditation and devotional practice. There are numerous types of mudrās and they are said to have specific qualities that can be imported to practitioners. The formality of mudrās were created the hand image and its shape was prepared according to the theory. Again, this shape derived from the shape of another similar hand gestures through the process of production would have been. They could be classified according to character, function and action of morphology into one hand mudrā and two hand mudrā, and vajra part.
jewely part.padma part.karma part, etc.
Second, Hasta-mudrā are created by combining the ten fingers that not only a
stationary gestures but moving gestures like dance. Continuous operation as a dance showing a dynamic flow. Moreover the flow of communication without language more powerful than through language approach to truth and his ascetic practices. We can see and understand Hasta-mudrās that it shows both progressive approach ways to upward and downward for ultimate reality because it is a manifestation and promise to human beings of tathagatas with compassion.
Third, an attitude to make hand position to connect the utmost veneration, and preached that can be equipped to prepare his mind. The gesture must be followed to ritual law if you do not balance it would be severely harm themselves have been warned. Mudrā parties also can not get how that can be transmitted person is entitled to regulate. The reason mudrā and Mantra handed down as a favor to his disciples of that truth is only itself. |
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| 目次 | I. 들어가는 글 255
II. 手印의 淵源과 分類 256
III. 手印의 언어적 기능과 그 상징성 262
IV. 수인의 활용 268
V. 나가는 글 273 |
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| ISSN | 12261386 (P) |
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| ヒット数 | 48 |
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| 作成日 | 2022.09.24 |
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| 更新日期 | 2022.09.24 |
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