Jung Sung Gyun, Hwang Kun, Hwang Young Joong
Department of Plastic Surgery, Daejeon Eulji Medical Center, Eulji University, Daejeon.
Department of Plastic Surgery, Armed Forces Capital Hospital, Bundang-gu, Seongnam-City, Gyeonggi-do.
J Craniofac Surg. 2024 Mar 15. doi: 10.1097/SCS.0000000000010086.
The skull most commonly symbolizes death, mortality, and the unachievable nature of immortality. However, in Korean Buddhist art, skulls are rarely found. The aim of this study was to explore the image and meaning of the skull in the Joseon dynasty (1392 to 1910) of Korea. The terms [Buddhist] and [painting] and [Korea] were used to search Google (www.google.com), and the Research Information Sharing Service of Korea (https://www-riss-kr-ssl.openlink), was also searched for [Buddhism] () and [art] () and [skull] (). This study focused on paintings or statues of Avalokiteśvara because Avalokiteśvara was often depicted holding various items in the hands, especially the multiarmed Avalokiteśvara. The corresponding Buddhist texts were searched on "Archives of Buddhist Culture" (http://kabc.dongguk.edu). In the paintings and statues of the 42-armed Sahasra-bhuja Avalokiteśvara, one of the hands was holding a skull rod. In the royal version of the "Five Great Dhārāṇis Collection ()," which was published in 1458, a skull was found in a rod held by a 42-armed Avalokiteśvara. This corresponds to one of the verses of the "42-Hand Mantras" (Om dhuna vajra ha). The purpose of the mantra was to communicate with and manipulate ghosts. The meaning in the original Susiddhikara Sutra is quite different from the 42-Hand Mantras in the Joseon dynasty of Korea. The reason for this difference is thought to be the merger of esoteric Buddhism with the folk religions of China and Korea.
头骨最常象征着死亡、必死性以及永生的不可实现性。然而，在韩国佛教艺术中，头骨却很少见。本研究的目的是探究韩国朝鲜王朝（1392年至1910年）时期头骨的形象与意义。使用“[佛教]”“[绘画]”和“[韩国]”等术语在谷歌（www.google.com）上进行搜索，同时也在韩国研究信息共享服务平台（https://www-riss-kr-ssl.openlink）上搜索“[佛教]”（）、“[艺术]”（）和“[头骨]”（）。本研究聚焦于观音菩萨的绘画或雕像，因为观音菩萨常被描绘为手持各种物品，尤其是多臂观音。在“佛教文化档案”（http://kabc.dongguk.edu）上搜索了相应的佛教经文。在四十二臂千手观音的绘画和雕像中，有一只手握着一个骷髅杖。在1458年出版的皇家版《五大陀罗尼集》中，发现四十二臂观音所持的杖中有一个头骨。这与《四十二手陀罗尼》（嗡 都那 金刚 哈）的经文之一相对应。该陀罗尼的目的是与鬼魂交流并操控它们。其在原始《苏悉地羯啰经》中的含义与朝鲜王朝时期的《四十二手陀罗尼》有很大不同。这种差异被认为是密宗佛教与中国和韩国民间宗教融合的结果。
