｢다주론｣은 20세기 초 돈황 장경동에서 발견된 통속서사 작품 중 하나이 다. 의인화된 차와 술의 논쟁으로 구성된 이 소품은 두 사물이 자신의 의견을 주장하는 독특한 형식, 해학적인 언어와 함께 당시 유행한 공연 형식과의 직접적 연관성 측면에서 주목할 만하다. 뿐만 아니라 이 작품은 음용 문화를 대표하는 차와 술에 대한 당시의 인식을 현실적으로 보여준 다는 점에서 문화사적으로도 연구의 가치가 있다. 돈황 사본은 천여 년 전의 원본으로서 2차 텍스트 자료만으로는 파악하 기 힘든 정보까지 제공해준다. 모든 자료가 유일본이라고 할 수 있는 필 사본은 하나하나가 독립된 자료로서 문헌학적 정보를 담고 있다. 이에 본 논문은 작품의 내용이나 사본의 성격에 대한 분석과 더불어 ｢다주론｣ 사 본의 문헌적 특징까지 살펴보고자 했다. 그리고 논문의 주요 내용으로 음 용 문화와 공연의 관점에서 당시 차와 술에 대한 인식과 ｢다주론｣ 작품 의 공연 방식에 대해 고찰하였다. 이 과정에서 ｢다주론｣에서 차와 술은 대등하게 논쟁을 진행하기보다는 차가 논의를 주도하다가 결국은 일방적 으로 차가 술을 비판하는 단계에 이르고, 이는 곧 당시 통속서사 작품에 가미된 불교적 색채와 관련이 있음을 주장하였다. 그리고 마지막으로는 자료의 문헌학적 특징에 근거하여 독서용 사본으로서의 현존 ｢다주론｣에 대해 분석하였다.

Dunhuang dance is one of the Chinese classical dance genres, and it is the dance with the most ethnic characteristics in the history of ancient Chinese dance. Incorporating the characteristics of the folk dance of the ancient Western Regions countries, and at the same time having a strong Buddhist color, it shows the ancient Chinese music and dance art, directly or indirectly reflects the living conditions of the ancient people, and contains the form and characteristics of ancient Chinese dances, and Chinese culture and history for more than a thousand years. Dunhuang frescoes preserve a large amount of ancient dance materials, which provide inspiration for contemporary dancers. Through the research and re-creation of Dunhuang mural dances, the dancers reproduced the dance costumes and music of ancient Dunhuang dances and enriched the content of contemporary Dunhuang dance works. However, there are not many academic studies on Dunhuang dance, especially in recent years, the research on the representative work of Dunhuang dance "Yuanqidunhuang" is unprecedented. "Yuanqidunhuang" looks at the creative inheritance of Dunhuang dance, and hopes to contribute to the development of related fields in the future through the systematic analysis of "Yuanqidunhuang". Therefore, this research takes the historical development of Dunhuang dance as a clue, through literature research, case studies, and video research on the Dunhuang dance "Yuanqidunhuang" created and performed in 2015. The characteristics of the work of "Yuanqidunhuang" are the background of its creation. Analyze characteristics, form and content, music, costumes, props, actions, etc. It is hoped that through this research, we can further understand Dunhuang dance, including the long history and rich meaning of Dunhuang culture, and ultimately contribute to the inheritance and development of Dunhuang dance.

이 논문에서는 9, 10세기에 만들어진 돈황 막고굴 제231, 237, 72굴 서 쪽 벽감 천장에 있는 서상도(瑞像圖)나 장경동에서 가져온 견본화(絹本 畵)에 그려진 서상 중에 미륵이라는 제기(題記)가 있는 도상을 다루었 다. 특히 이 도상에 대한 선행 연구를 검토하고 수정을 거쳐 새로이 알 게 된 사실을 추가하였다. 몇 가지 예를 들자면, ‘천축백은미륵서상(天 竺白銀彌勒瑞像)’에 관해서는 미륵을 백은색(白銀)으로 보는 근거를 고 찰하였고, ‘미륵수석가현서상(彌勒隨釋迦現瑞像),’ ‘건타라국백석미륵서 상(健陀羅國白石彌勒瑞像)’에 대해서는 선행 연구의 견해(同定)에 의 문을 제기하였다. 또, ‘복주철미륵서상(濮州鐵彌勒瑞像)’의 경우를 보면, 인도나 우전(于闐)의 서상이 대부분인 돈황의 서상도 가운데에 극히 드 물게 중국 내지의 서상으로, 문헌 사료에 따르면 구리(銅製)로 만든 모 조상이 개봉(開封)의 건국사(建國寺, 후의 相國寺)에 안치되어 여러 영 험을 보였다고 한다. 뿐만 아니라 돈황 사본의 서상기(瑞像記)에는 복 주의 상이 우전의 우두산(牛頭山)으로 찾아 와서 거주하였다고도 한다. 본 원고의 마지막에서는 하남(河南), 서역의 우전, 돈황으로 내력(由緖) 이 옮겨다녔던 복주천미륵서상의 성격과 의미를 논하였다.

This study aims to examine the early use of Da-bo tap and their transformation by analyzing the various meanings of the term pagoda in Chinese translations, the Sanskrit version of the Lotus Sutra, as well as Dabotap in the Mogao Caves of Dunhuang. In addition, we aim to highlight changes in Dabotap usage, which started out as residential spaces, but transformed into burial spaces over time. The details can be summarized as follows. First, early Buddhist monuments were usually either pagodas serving as burial places for the dead or shrines that were not. A Dabotap is a type of pagoda enshrining the body of Prabhutaratna, and was initially used as a residential space, rather than a burial place for the dead. Second, the terms stupa and caitya are clearly distinguished from each other in the Sanskrit scriptures, and stupa is also further classified into dhatu, sarisa, and atmabhava based on the object being enshrined. In Gyeon-bo-tab-pum, the preconditions for caitya to transform into stupa is presented by explaining that worshipping the space enshrining the body of Prabhutaratna is worthy of the same status as the space enshrining sarira. Third, the Mogao Caves of Dunhuang had been depicted from the Western Wei of the Northern Dynasties until the time of the Yuan Dynasty. It was used as a residential space until the early Sui Dynasty, but was used as both residence and burial places until the Tang Dynasty when pagodas were first being constructed with wheel or circles forms on top, which then gradually changed into stupa (grave towers).

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618–712) and middle (AD 766–835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713–765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).