The Sŏkkuram principal Buddha image, created in mid-eighth-century Unified Silla, was conceived as a replication of the Bodhgayā Mahābodhi enlightenment image, intentionally reproducing its precise dimensions, even as its sculptural style reflects Tang Chinese influence rather than Indian prototypes. Soon after its creation, it came to function as a canonical prototype for Buddhist sculptural production in late Unified Silla. This paper examines the replications and transformations the Sŏkkuram image generated as a canonical prototype through the early Koryŏ period. The stone seated Buddha from An’gye-ri, Kyŏngju, is identified as a faithful replication, notably reproducing even the distinctive pentagonal pillar sockets—a feature unattested elsewhere in Unified Silla. A survey of the broader Sŏkkuram lineage reveals a wide spectrum: from stylistically close replications to images retaining only the formal type, and from iconographic transmission to transformations extending the bhūmisparśamudrā to Medicine Buddha imagery—produced across diverse social strata. The paper repositions the Sŏkkuram Buddha not as an isolated masterwork but as a normative prototype of an enduring sculptural tradition. This breadth and persistence—spanning stone, iron, and dry lacquer over several centuries—suggests an authority exceeding artistic prestige, raising the possibility the image was perceived as possessed of numinous power.
Jungmin Ha (Sun,) studied this question.