<구미 대둔사 건칠아미타여래좌상> 복장 <보협진언·팔엽삼십칠존만다라>의 제작주체와 조성의도

초록

This study examines two versions of the Pohyŏpchinnŏn Dhāraṇī (Bhautrkā Dhāraṇī Sūtra) and the Pallyŏp Samsipch’il-chon Mandala (Eight-petaled Lotus Maṇḍala of Thirty-seven Deities) discovered inside the 1295 Kumi Taedun-sa Dry-Lacquer Amitābha Image. Of the two dhāraṇī sheets, type ① is datable to the late thirteenth century, whereas type ② was produced precisely in 1292. This is the first instance in which the two types have been found together. Both versions excerpt the concluding dhāraṇī—the central component of the Pohyŏpin’gyŏng (寶協印經, Bhautrkā Sūtra)—to which several additional incantations were appended, and they place at the center a Pallyŏp Samsipch’il-chon Mandala (Eight-petaled Lotus Maṇḍala of Thirty-seven Deities) integrating elements of the Vajradhātu and Garbhadhātu realms. By condensing these materials into a single portable sheet, the producers aimed to secure maximal ritual efficacy at minimal cost. I propose that Yŏm Sŭngik (廉承益, ?–1302)—a court favorite of King Chungnyŏl and a member of the Kyŏngsang Sup’o Togam responsible for producing and repairing Buddhist scriptures and images—oversaw the creation of both sheets. Renowned for his mastery of esoteric ritual techniques, Yŏm likely conceived type ① and, after rising to the rank of Chŏng 2-p’um (Second Senior Rank) by 1292, added a colophon to produce type ②. The two sheets share the same format, structure, and dimensions; most importantly, they exhibit identical calligraphy, with all character heads oriented outward in the same distinctive manner. These features strongly suggest that Yŏm—skilled in ritual and incantatory practice—devised this concise yet potent iconographic scheme uniting the Pohyŏpchinnŏn Dhāraṇī (Bhautrkā Dhāraṇī Sūtra) and the Pallyŏp Samsipch’il-chon Mandala (Eight-petaled Lotus Maṇḍala of Thirty-seven Deities). The belief that chanting the Pohyŏpchinnŏn Dhāraṇī (Bhautrkā Dhāraṇī Sūtra) could eliminate all misfortunes in this life originated in late Koryŏ and continued throughout the Chosŏn period, becoming an indispensable component of pokchang deposits. The two dhāraṇī–mandala sheets discovered in the Kumi Taedun-sa Amitābha image may be understood as marking the earliest stage of this widespread practice.

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