慶州錫杖寺址塼佛硏究 (Buddhist-Motif Bricks of Seokjangsa Temple in Gyeonju)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 266권 / 266호 / 33 ~ 62페이지
· 저자명 : 김지현

초록

경주 석장동에 위치한 錫杖寺址는 신라의 조각승 良志와 밀접한 관련이 있다. 1986년과 1992년, 동국대학교 경주캠퍼스 박물관에 의해 2차에 걸쳐 발굴·조사되었다. 당시 발견된 조선시대 자기 굽바닥의‘錫杖’이라는 묵서를 통해『三國遺事』권제4 義解제5 良志使錫條에 등장하는 석장사임을확인하였다. 기록에 양지가 조성하였다는 전탑의 부재로 보이는 다양한 종류의 塼佛들이 발견되었고 이들의 제작 시기는 지금까지 양지의 활동시기에 맞춰 7세기 후반의 작품으로 일관되어 왔다. 하지만 일반적으로 전탑의 특성상 석탑·목탑에 비해 내구성이 약해 탑 자체가 훼손되기 쉽고, 이후보수될 가능성이 높아, 석장사지 전불 역시 시기의 혼재 가능성이 높다. 확인한 결과 제작 시기가최소 두 시기 이상인 것으로 밝혀졌다.
전불은 용도에 따라 탑상문전, 천부상전편, 연기법송명탑상문전으로 구분하였고, 탑상문전은다시 조각된 불상과 탑의 양식 및 조각수법에 따라 I·II·III 유형으로 세분화하였다. 제작 시기는 I 유형의 경우 7세기 후반, II유형은 8세기 중반-9세기 전반으로 추정하였다. III유형은 워낙 독특하여 양식적으로 비교할 대상이 거의 없어 연구에 어려움이 따랐다. 하지만 간략하고 추상적인 표현기법, 보개가 표현된 탑 등으로 상한연대를 8세기 중반 이후로 조심스레 추정하였다. 천부상전편은모티프와 양식을 통해 7세기 후반과 8세기 중반 이후, 두 시기로 구분되었다. 연기법송명탑상문전은 刻字된 연기법송이 여러 경전에서 보이는 연기법송 중 의정이 찬술·역출한 경전의 것을 따랐음을 알 수 있었고 그중 8세기 초의『욕불공덕경』과『근본설일체유부비나야출가사』에 영향을 받은 것으로 유추하였다.
더불어 탑상문전에 표현된 불상과 탑의 배열로 이루어진 독특한 형식은 인도에서 고대부터 유행한 장엄방식임을 확인하였다. 중국에서는 이러한 형식이 7세기 중반 이후 인도를 다녀온 唐구법승들을 통해‘印度佛像’이라는 명칭과 함께‘善業泥’라는 전불상의 변형된 모습으로 표현되기도 하였다. 특히 탑과 함께 불상을 표현한 선업니 불상은 공통적으로 하단부에 연기법송을 새겼다. 따라서 석장사지 탑의 모습과 그 탑 내 봉안하였던 것으로 추정되는 연기법송명탑상문전은 唐代인도로부터 새롭게 유입되었던 불사리 장엄법식의 변형이 다시 한 번 신라로 유입되면서 신라만의 독특한방법으로 변화되어 나타난 것으로 해석하였다.

영어초록

The former site of Seokjangsa Temple, located in Seokjang-dong, Gyeongju, is a place closely linked to Yangji, the famous monk sculptor of Silla. The site was investigated under two successive excavation projects carried out by the Museum of Dongguk University at Gyeongju, in 1986 and 1992. The name“Seokjang”found in the bottom of a Joseon-period porcelain dish,discovered there, written in underglaze calligraphy, provided conclusive evidence that this place was the former site of Seokjangsa, a Buddhist temple mentioned in an article of the 4th volume of Samguk Yusa (Memorabilia of the Three Kingdoms), titled“Yangjisaseok.”The site further yielded a large array of bricks sculpted with Buddhist motifs, ostensibly bricks used for the construction of a brick pagoda said to have been built on this temple ground by Yangji. These bricks with Buddhist motifs have been mostly dated by historians to the late 7th century,corresponding to Yangji’s active years. This dating, however, does not take into account the fact that brick pagodas are generally less durable than stone or wooden pagodas and are more frequently repaired than the latter as well. The brick pagoda of Seokjangsa could have been completed through more than one construction project, and if this is the case, bricks with Buddhist motifs that were found at the former site of Seokjangsa could also date from several different periods of time. As a matter of fact, a recent investigation discovered evidence that these bricks with sculpted Buddhist motifs were made during at least two different time periods.
Buddhist-motif bricks are classified according to their intended use into three categories:pagoda and Buddha-motif bricks, bricks featuring heavenly beings and pagoda-motif bricks inscribed with yeongibeop odes. Pagoda and Buddha-motif bricks, meanwhile, can be again divided into three sub-categories, type I, II and III, according to the style of pagoda and sculptural technique. In this paper, pagoda-motif bricks of type I are tentatively dated to the late 7th century,those of type II to the mid-8th to early 9th century. Type-III bricks, highly original in style, were trickier to date than others, due to the nearly complete absence of comparable bricks.
Notwithstanding, the concise and abstract visual style and the presence of a baldachin in the pagoda common to the bricks of the latter category incline me to think that they must have been made no earlier than the mid-8th century. As for those with carved images of heavenly beings,their motifs and styles suggest that some of them were made sometime after the late 7th century,and some others after the mid-8th century. As for the Yeongibeop odes inscribed on pagoda-motif bricks inscribed with yeongibeop odes, these verses were extracted from sutras translated and edited by Uijeong, and Yokbulgongdeokgyeong (On Bathing and Praying to a Buddha Statue) and Genbenshuoyiqieyoubupinaiyechujiashi(Mu¯lassrva¯stiva¯davinaya pravarjya¯vastu), two publications from the early 8th century, appear to have been particularly influential sources.
Meanwhile, I was also able to establish that the unusual arrangement of alternating images of Buddha statues and pagodas in pagoda and Buddha-motif bricks was inspired by a popular Indian style of enshrining sarira, dating from antiquity. This style was introduced to China in the mid-7th century, by Tang monks who traveled in India, and Buddha statues of this style were known there as“Indian Buddha statues,”which also gave rise to a brick-sculpted variant called “seoneomni.”Seoneomni sculptures featuring pagoda motifs alongside images of a Buddha statue often also had yeongibeop odes in the lower section. Based on these findings, I argue that the brick pagoda of Seokjangsa Temple and the pagoda-motif bricks inscribed with yeongibeop odes found at the former site of the now-disappeared Buddhist temple were created under the influence of a Tang-Chinese variant of the ancient Indian style of enshrining sarira, even though they were in a significant departure from the original Indian style, due to a second round of adaptation it underwent in the Korean peninsula, during which it incorporated Silla’s native aesthetic.

참고자료

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