본 연구는 대승불교 경전인 『유마경』과 『승만경』에 나타난 여성관에 대하여 비교 고찰하고 여성에 대한 사상, 가치관과 위치를 탐구하고자 한 다. 『유마경』은 보살도의 실천이 대승불교 수행정신의 핵심을 강조하면서 세속의 적극적인 참여와 재가불교의 이상을 펼치고 중생의 평등적 깨달 음에 주목한다. 반면, 『승만경』은 여성의 깨달음의 가능성을 강조하며, 여래장(如來藏)사상을 담고 있다. 특히 승만 부인이 주인공으로 등장하여 여성의 적극적인 종교참여와 불교 내 여성의 역할과 여성도 남성과 동등 하게 깨달음을 얻을 수 있음을 보여준다. 본 연구는 두 경전에서 나타난 대승불교에서의 여성의 역할과 위치가 어떻게 다루어지고 있는지를 살펴보았고, 여성에 대한 긍정적인 시각과 그 시각이 현대 사회에서 여성의 지위 향상에 기여하는 방법을 탐색해 보았다. 그들 경전이 여성에 대한 전통적인 관념을 타파하고 성의 차별 없는 모든 중생이 깨달음을 얻는 가능성을 근본적인 사상에 주목하게 되 었다.

The topics addressed, scope, and approach of this paper involve contemporary postmodern/poststructural critical theory, literary criticism in particular, and Mahayana (大乘)—especially kongan (公案) and hwadu (話頭) Ch’an(Chinese)/Seon(Korean)/Zen (Japanese)—Buddhist thought (佛敎思想) is explained in detail. However, the theoretical ground is only to help the twenty-first century audience to deeply comprehend how literature and film offer us precious opportunity to experience the sublime (崇古)—aesthetic sensibility (美的感覺), through which we glimpse (一見) the ultimate reality (窮極的 現實). It is time now that intellectual (philosophical, critical, academic) explanation and spiritual experience are brought to work together in the common area, literature (文學) and film (映畫). It is important for literary readers to experience someone’s life story in the way of encountering the non-duality (非二重性) of the ultimate reality.

It is a true fact that the ancient Buddhist temples of Korea were great, important historical influence revealing the transition and developing stages of all the BUddhist temples in Eastern Asia including China and Japan. Before Mahayana arose within India, the monastery and pagoda were united during the conflict and development of the original Buddhism and pagoda faith. With the arising of Mahayana and the introduction of Buddhist statues, the Buddhist temple and pagoda were in conflict and resulted in separation. With the creation and development of the Mahayana Bodhisattva concept, Hinayana and Mahayana started to show doctrine differences and expressed each others' characteristics relevant to the structure of the temple. As a result, the Buddhist Temple having 1 pagoda spread in China together with Hinayana and Mahayana. The Buddhist temple of Hinayana had its temple and pagoda separated and the Buddhist temple that has a pagoda in front was divided into a form of 1 pagoda and 1 main temple. The temple and pagoda for Mahayana in the form of 1 pagoda and 2 temple, where the main statue of the Buddha may be worshipped from both the left and right hand sides, were separated in the form of 1 pagoda and 3 temples to have its original form again. Mahayana was first introduced into Goguryeo through the routes in the northern region and developed from having 1 pagoda and 2 temples, to having 1 pagoda and 3 temples. China was influenced by the southern regions, which is why Abhidharma was introduced into Baekje. Later on, the importance of Bodhisattva increased and the transition speed of the Buddhist temple having 1 pagoda and 3 temples accelerated, as Buddhism became more popular and as Mahayana flourished. The statue of the Buddha on both sides of the pagoda shall gradually move next to the central temple , and the temple shall form large crowds to not only form a tacit boundary with the pagoda but the expansion of Bodhisattva shall also have a wall or a corridor constructed in between the central, left and right hand side temples to form separate areas, and shall have a pagoda built in front of the temples that worship from both sides. In conclusion, independence shall exist among each Bodhisattva within the Buddhist temple, and the status of the pagoda shall fall and appear as the pagoda on both sides in front of the main Buddha statue.

The focus of study in this paper is put on the comparison of symbolism manifested in the world of W. B. Yeats’ poetry and the thoughts of Master Won-hyo.. The comparing works include the identification of their understanding ways of life. The symbols in common to bridge W. B. Yeats and Master Won-hyo are, for instance, circle, cone, cycle, sphere, spiral, wheel, vehicle, etc. Such a sign symbolizes a round thing, in another expression, the world or the cosmos where man belongs to. The phenomenological world or the cosmos by oriental thoughts is represented as the 28 phases of the moon, ranging from the dark moon(objectivity) to the full moon(subjectivity), which according to W. B. Yeats’ theory are identified the same kinds of character of man. Won-hyo(元曉, 617～686), a life-long friend of another Buddhist Master Ui-sang., insisted on the necessity for every living being to return to the foundation of the One Mind(一心), which is the original state of being, in another words, or “Ultimate Reality” to which every living being has to return. The Hwa-yen Sutra(華嚴經), a rare scripture of Mahayana Buddhism(大乘佛敎), emphasizes that the Ultimate Reality is the Source of One Mind of Won-hyo. We can say that Mahayana Buddhism teaches every living being the way to return to the world of the Ultimate Reality by great vehicle of "Mahayana"(大乘) in sanskrit. Another principle of Hwa-yen philosophy may be expressed as "All in one, one in all. One is all, all is one"(一中一切一切中一, 一卽一切一切卽一). "The Six Aspects"(六相) is interpretated by the principle. The mutual relationships are harmonized between the whole and a part, between the unity of the whole and the diversity of the part, and between the completion of the whole and the self-denial of the part. The One Mind is synonymous with the Great Vehicle with great wheels, which return to the Source of One Mind, the original state of being, or the Ultimate Reality( or Nirvana). The meaning of the One Mind may be expanded to the synonym of the existential world or the cosmos, at the center of which the One Mind lies. Accordingly, The One Mind, the Great Vehicle or Great Wheel and the World has a similar analogy, which make a system of symbolism, so called “Yeatsian gyre theory.” Yeats imagined a spiral, which he preferred to call a gyre) or whirling cone. Then two such cones were drawn and considered to pass like the human soul through a cycle from subjectivity to objectivity. These cones were imagined as interpenetrating, whirling around inside one another, one subjective, the other objective. The cones were not restricted to symbolizing objectivity and subjectivity. They were beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead. Yeats thought that he had discovered in the figure of interpenetrating gyres the archetypal pattern which is mirrored and remirrored by all life, by all movements of civilization or mind or nature. Man or movement is conceived of as moving from left to right and then from right to left. No sooner is the fullest expansion of the objective cone reached than the counter-movement towards the fullest expansion of the subjective cone begins. These movements slide to the 28 phases of the moon. The dark moon, in the course of wane and wax sways to the full moon. The different 28 patterns of the moon is mirrored by all life or mind, ranging from the highest state of subjective mind(the 15th phase: the full moon) to the highest cast of objective mind(the 1st phase; the dark moon). In the long run, the world which Won-hyo and Yeats seek for as an ideal space of mind is a unified one, into which melted are the binominal opposites such as objectivity and subjectivity, the sacred and the profane, the bishop and Jane, fair and foul, the dancer and the dance, beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead.