통일신라시대 梵鐘에 표현된 天人像 연구 (A Study of the Heavenly Figures in the Unified Silla dynasty)

서지정보

· 발행기관 : 신라사학회
· 수록지 정보 : 신라사학보 / 15호 / 41 ~ 77페이지
· 저자명 : 최선일

초록

불교에서 天人은 天界에 거주하는 인간(有情)을 통칭하고, 불교미술에서 天人像은 佛·菩薩을 莊嚴하기 위하여 樂器를 연주하거나 持物을 공양하는 모습으로 표현되었다. 특히, 통일신라시대 천인상은 梵鐘의 鐘身에서 天衣와 瓔珞을 휘날리면서 악기를 연주하거나 지물을 공양하는 자세를 취하고 있어 飛天像이라 부르고 있다. 그러나 비천상은 하늘을 날고 있는 천인상을 造形한 것으로 尊像의 명칭으로 적합하지 않으며, 佛敎經典에서도 찾아볼 수 없다.
통일신라 紀年銘 梵鐘은 현존하는 작품이 4점이고, 亡失과 破損된 작품은 2점이다. 이 가운데 8세기 범종은 3점, 9세기 범종은 2점, 10세기 범종은 1점으로 이루어져 있다. 통일신라 천인상의 특징을 살펴보면, 첫째, 이 시기 천인상은 중국이나 일본과 달리 독자적인 영역을 구축하면서 공예품에 중심 문양으로 사용되었다. 둘째, 중국 隋·唐代 淨土變相圖 등에 표현된 것과 같이 천인상은 頭光이 없고, 벗은 상반신에 치마를 입고 있으며, 천의가 머리 위에서 單圓弧와 二重圓弧를 두르고 있다. 셋째, 천인의 자세는 역할과 밀접한 관련성이 있어 주악천인상은 飛行坐와 結跏趺坐 등을, 공양천인상은 跪坐와 水平·垂直 飛行形으로 표현되었다. 넷째, 천의의 형태와 악기를 연주하는 자세 등의 변화를 통하여 제작연대를 알 수 없는 불교미술품의 제작시기를 추정할 수 있다.
통일신라 범종에 표현된 천인상은 姿勢, 天衣, 瓔珞, 持物, 구름 등에서 시기적으로 차이가 난다. 8세기 범종의 鐘身에는 두 구가 대칭을 이루는 있는 雙天人像으로 비행좌와 결가부좌를 취하고 있다. 비행좌는 중국 남북조시대 천인상에서 볼 수 있던 자세로 수·당대 천인상에서 거의 표현되지 않아 삼국시대 유입된 천인상의 자세가 통일신라까지 전해진 것을 알 수 있다. 또한 聖德大王神鐘에 보이는 천인상의 공양자세는 수·당대 석굴벽화에 그려진 정토변상도 하단에 위치한 보살상의 자세와 유사성을 갖는다. 이 시기 천인상은 천의가 머리 위에서 이중교차원호와 단원호를 이루고, 여러 갈래의 천의와 술을 매단 영락장식이 화려하게 휘날리고 있다. 9세기 천인상은 833년 蓮池寺銘梵鐘을 시점으로 많은 변화가 이루어진다. 우선 종신에 커다란 單天人像이 조각되면서 양 면에 다른 형태가 배치되고, 천인상 밑에 연화좌가 생략되면서 요고와 비파 등을 연주하는 자세가 변화되었다. 천의는 8세기 범종에 조각된 천인상이 걸친 천의 자락에 비하여 숫자가 확연히 줄어들면서 영락 장식도 생략되었다. 뿐만 아니라 구름도 線刻이나 생략되는 경향까지 나타난다.

영어초록

In Buddhism, the Heavenly Figures(天人像) are regarded as the people, who live in heaven. In Buddhism art iconology, the Heavenly Figures are usually depicted as subordinated figures for decorating Buddha as well as Bodhisattva by playing musical instruments and offering food. Especially in the Unified Silla dynasty, an iconography for these Heavenly Figures was well developed. In this new iconography, these Heavenly Figures’ drapery and ornaments fly, and the Heavenly Figures were depicted as musicians and food offerers. Because of their appearances, these Heavenly Figures were also termed as Flying Deva (飛天像). However, the Flying Deva is not a correct term, for in many Buddhism sutras, the term, Fying Deva, cannot be found.
In the Unified Silla dynasty six dated Buddhist bell were reported. Among these, four of them are intact, and two of them are damaged. In these dated Buddhist bells, three bells were rendered in 8th century, and two bells were forged in 9th century. The last one was created in 10th century. The features of the Heavenly Figures are summarized in four facts. The first feature is that the usage of Heavenly Figures images was not limited in only Buddhist art. This image was widely applied into pieces of handicraft works. Such a feature was a unique phenomena compared with China and Japan’s situation. The second feature is that the shape of the Heavenly Figures was under influence of Sui and Tang dynasty’s Buddhism, at which Pure Land Belief was widely disseminated toward people. In Pure Land iconography, the Heavenly Figures were depicted as naked upper body as well as wearing skirt. The skirt’s drapery was placed in over head of the Heavenly Figures by shaping arc and double arc. The third feature is that the Heavenly Figure’s posture was directly related to their duty. A Heavenly Musician maintains flying posture or crossed legs posture. A Heavenly Offerer carries kneel down posture and horizontal-perpendicular flying posture. The fourth feature is that by scrutinizing these Heavenly Figures cloth style as well as their postures which were on the undated bronze bell, scholars can guess these bell’s approximate making time.
The shape of Heavenly Figures on Buddhist Bell, which was rendered in the Unified Silla dynasty, well reflects the period’s distinct style. Although these Heavenly Figures seem to be presented in one style, the detailed elements such as posture, decoration jewelry, drapery and shape of cloud are subject to be modified in different period. In 8th century Heavenly Figures style, a couple of Heavenly Figure were placed in a symmetrically, face to face, by maintaining flying posture and crossed legs posture. The flying posture was only reported during Northern and Southern dynasties, not in Sui and Tang dynasty, so it might be assumed that the flying posture was transmitted before the Unified Silla dynasty. In addition the offering posture, in Seongdeokdaewangsinjong (聖德大王神鐘) was also shown in Sui and Tang dynasty’s Buddhist mural painting. The feature of 8th century’s heavenly figure’s style is that the drapery of the Heavenly Figure was located in above figure’s head by shaping arc and double arc, and Heavenly Figure wore very sophisticated jewelry ornaments. In 9th century a new visual representation of the Heavenly Figures were introduced after Yeonsamyeongjong (蓮池寺銘梵鐘). In this Buddhist bell, a big single Heavenly Figure was carved in opposite Buddhist bell’s surface respectively, and a lotus flower pedestal, which was usually placed underneath of Heavenly Figures, was omitted. In addition these Heavenly Figure’s postures for playing their musical instruments such as lute and small drum were changed. The way for describing Heavenly Figure’s drapery became much more simplified, and other visual elements for Heavenly Figures such as the ornamental jewelries and cloud tended to be decreased or omitted.

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