국립중앙박물관 소장 유리건판과 기록자료로 본 황해도 성불사(成佛寺)의 불교조각

허형욱 국립중앙박물관 2024 박물관과 연구 Vol.1 No.-

국립중앙박물관이 소장한 일제강점기의 유리건판 사진과 조선총독부박물관 공문서는 1950년 한국전쟁으로 북한 지역 소재 문화유산이 큰 피해를 입기 전의 모습을 알려주는 자료로서 가치가 있다. 이에 최근 유리건판과 총독부박물관 문서를 활용한 북한 지역 불교조각 연구가 증가하고 있으며, 본고에서는 황해도의 대표적 사찰 중 하나인 황주 성불사의 불교조각에 대해 기존 성과를 바탕으로 몇 가지 새로운 의견을 개진하였다. 이를 위해 먼저 문헌기록을 토대로 성불사의 연혁을 정리하고 현황을 짚어본 후, 유리건판 속 존상별 제작시기와 조성배경 등을 자세히 살펴봄으로써 성불사 불교조각을 종합적으로 이해하고자 했다. 1945년 해방 이전 성불사의 불교조각은 보살상 2건, 여래상 4건, 삼존상 1건의 총 7건이 확인된다. 제작시기에서는 고려 전기 2건, 고려 후기 1건, 조선 전기 3건, 조선 후기 1건의 분포를 보인다. 이 가운데 오늘날 실물이 남아있는 2건이 주목된다. 먼저 성불사 응진전에서 촬영되었다는 고려 전기 석조약사여래좌상이다. 이 상의 당시 대좌 실측도를 면밀히 검토한 결과, 현재 정방산 내금강 골짜기의 옛 상원암 터에 전하는 머리없는 석조약사여래좌상 및 대좌 부재와 일치함을 알 수 있었다. 이 판단이 맞다면 북한 지역에 전하는 고려 전기 불교조각의 작례를 새롭게 확보하는 것으로서 의의가 크다. 다른 하나는 성불사 극락전에서 발견된 조선 1454년(단종2) 작 금동아미타여래삼존좌상이다. 이 상은 현재 사리원력사박물관에 보관 중이며 조선 전기 이북 지역에서 확인되는 소형 금동불의 기년작으로서 중요하다. 본고는 성불사라는 단일 사찰에 초점을 맞추어 북한 지역 불교조각을 고찰한 사례 연구이다. 앞으로 국립중앙박물관 유리건판 자료가 더욱 다양한 방식으로 활용된다면 우리나라 불교조각사의 연구에 적지 않은 기여를 할 것으로 기대된다. Gelatin dry plate photographs dating to the Japanese colonial era and the official documents from the Japanese Government-General of Korea Museum in the collection of the National Museum of Korea are significant materials documenting cultural heritage in North Korea before it was severely damaged in 1950 during the Korean War. There has been an increase in recent years in studies of Buddhist sculptures in North Korea based on these photographs and documents. This paper presents some new comments on the Buddhist sculptures at Seongbulsa Temple in Hwangju, one of the most famous temples in Hwanghae-do Province, based on the related existing research outcomes. This paper aims to facilitate a more comprehensive understanding of the Buddhist sculptures at Seongbulsa Temple by chronicling its history based on historical records, examining its current status, and exploring in detail the production dates and backgrounds of the Buddhist sculptures featured on gelatin dry plates. Prior to Korea’s liberation from Japan in 1945, Seongbulsa housed at least seven sculptural items: two Bodhisattva statues, four Buddha statues, and a triad. Two items are from the early Goryeo period, one is from the late Goryeo period, three are from the early Joseon period, and one is from the late Joseon period. Among them, two surviving items are noteworthy. One is the early Goryeo-era Stone Seated Bhaishajyaguru Buddha photographed in Eungjinjeon Hall at Seongbulsa Temple. A close examination of a schematic drawing of the sculpture’s pedestal made at the time it was photographed reveals that its material accords with the materials used for the headless Stone Seated Bhaishajyaguru Buddha and pedestal currently found in the old Sangwonam Hermitage site in the Inner Geumgang Valley of Jeongbangsan Mountain. This accordance could mean that the statue is a new significant example of early Goryeo Buddhist sculpture in North Korea. The other notable sculpture is the Gilt-bronze Seated Amitabha Buddha Triad created in 1454 (the second year of the reign of King Danjong) and discovered in Geungnakjeon Hall at Seongbulsa. This statue is currently in the collection of the Sariwon History Museum in Hwanghae-do Province. It is an important example of a dated small gilt-bronze Buddhist statue from the early Joseon period found in North Korea. This paper is a case study of Buddhist sculptures in North Korea, focusing on Seongbulsa Temple. Further utilization of the National Museum of Korea’s gelatin dry plates will contribute to developing the study of the history of Korean Buddhist sculpture.

통일신라 四面佛像의 약사여래상 도상과 배치방식 연구

허형욱 미술사연구회 2023 미술사연구 Vol.0 No.44

The Bhaisayaguru Buddha with his medicine jar in hand constitutes a near-indispensable component of the Buddhas in Four Directions of the Unified Silla period, which were created by carving a Buddha into each of the four sides of a rock or a stone pagoda. The following paper directs its attention toward this fact and examines the iconography and placement features of the Bhaisayaguru Buddha in connection to the other three Buddhas who accompany him within the Buddhas in Four Directions of the Unified Silla period. In terms of Buddhas in Four Directions sculpted into rock columns, the Rock-Carved Buddhas at Chilburam Hermitage in Namsan Mountain, Gyeongju—which trace back to the early 8th century—provide us with an initial example of a Unified Silla embodiment of the Bhaisayaguru Buddha as conceptualized within the Eastern pure land tradition, although, in this instance of the Buddhas in Four Directions, the revered names of the Buddhas remain unknown with the exception of the medicine jar-holding Bhaisayaguru Buddha on its eastern face. The Buddhas in Four Directions at Gulbulsa Temple Site, Gyeongju—created in the early to mid-8th century—solidified the combination of the Bhaisayaguru Buddha on the eastern face and the Amitabha Buddha on the western face. In other words, the Bhaisayaguru Buddha of the Eastern pure land tradition and the Amitabha Buddha of the Western pure land tradition came together to form a symmetry in a certain configuration of the symbolic east-west axis in the Unified Silla period Buddhas in Four Directions. During the 9th century, Buddhas in Four Directions adorned the first stories of stone pagodas, falling into either standing or seated form. As far as the latter is concerned, the changes in the position of the unoccupied right hand of the Bhaisayaguru Buddha demonstrates a certain correlation with the iconography and assemblage of the other three seated Buddhas. In the early 9th century, the Bhaisayaguru Buddha featured in the Buddhas in Four Directions on stone pagodas tended to have his right hand uplifted in front of his chest, whereas the late 9th century marked the emergence of the Bhaisayaguru Buddha in Bhumisparsha mudra. Early 9th century iconography also maintained the symbolic axis of symmetry between east and west by placing the seated Amitabha Buddha in Dharmachakra mudra on the face opposite to that of the seated Bhaisayaguru Buddha. These rules of composition eased later in the century, giving way to a more diversified range of compositions with the addition of the seated Maitreya Buddha or the seated Vairocana Buddha in Bodhyagri mudra. At the same time, the standing renditions of the Buddhas in Four Directions on stone pagodas are noteworthy in that they represent a distinctive form of iconography whose prevalence took the Gyeongju area as its epicenter. The inclusion of the Bhaisayaguru Buddha in the Buddhas in Four Directions of Unified Silla marked a divergence from the genealogy of Esotericism and its Buddhas in Four Directions. The Buddhas in Four Directions of Unified Silla were likely selective delineations of the leading objects of worship during the period in question rather than established expressions based on specific sutras or ritual texts. Granted, the Bhaisayaguru Buddha inclusive composition of the Buddhas in Four Directions itself was not exclusive to Unified Silla, as the Buddhas in Four Directions of the Tang dynasty likewise demonstrate a similar placement of the Buddhas. However, the individual Buddhas of the two kingdoms’ Buddhas in Four Directions differ in their form and finer points, revealing that each created its iconography according to its own set of preferences. In this sense, the Buddhas in Four Directions of Unified Silla represent an exemplary genre of distinctive Silla characteristics within the international universality of East Asian Buddhist sculpture.

新羅 藥師信仰의 전개양상과 그 특징

허형욱 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2021 신라문화 Vol.59 No.-

This paper explores the Bhaisajyaguru (Medicine) Buddha cult of the Korean kingdom of Silla (57B.C.E.~ -935C.E.) through historical records by focusing on annotations and explanations from the Sutra of the Medicine Buddha (薬師經), the establishment of temples and the holding of rituals dedicated to the Medicine Buddha, and the production and enshrinement of Medicine Buddha sculptures. Based on their profound understanding of the Sutra of the Medicine Buddha, people from the Silla Kingdom constructed spaces for the worship of the Medicine Buddha, created sculptures of the Medicine Buddha, and performed a distinct religious practice in reality by transforming the contents of the Sutra of the Medicine Buddha instead of observing the sutra faithfully. The first reference to the Medicine Buddha cult in Korea can be observed in early seventh-century historical records from the late Three Kingdoms period. By the eighth century (during the Unified Silla period), eminent monks produced fruitful results in Buddhist studies by writing annotated editions of the Sutra of the Medicine Buddha, including the Exposition of the Sutra on the Merits of the Original Vows of the Medicine Buddha of the Lapis Lazuli Radiance (本願藥師經古迹) by the monk Taehyeon (太賢). Moreover, the number of temples related to the Medicine Buddha cult and spaces for worshipping the Medicine Buddha increased, and Medicine Buddha rituals were also conducted. The massive bronze sculpture of Medicine Buddha cast in 755 at Bunhwangsa Temple in Gyeongju was a monumental emblem of the national popularity of the Medicine Buddha cult. In the mid- and late eighth century, the Medicine Buddha cult spread across the country, as demonstrated by the enshrinement of the Medicine Buddha sculpture by Master Jinpyo (眞表) at a temple on Geumgangsan Mountain. During the late Unified Silla period, the Medicine Buddha cult was localized in diverse forms. As a case in point, the prescriptions from the entries on “Methods of the Silla Masters” (新羅法師方) in the Japanese medical book Ishinpō (醫心方, Essentials of Medicine) published in 984 show that the Medicine Buddha cult underwent a secular transformation through a convergence with the medical field. In a similar vein, the story in which the monks Suneung (順應) and Yijeong (理貞) cured the disease of the queen by using strands of five colors in the early nineth century during the reign of King Aejang indicates that the Ritual of Healing Disease by Knotting Strands of Five Colors, which is included in the Sutra of the Medicine Buddha, had transformed into an independent treatment. Grounded in the Sutra of the Medicine Buddha, the Silla Medicine Buddha cult maintained an East Asian universality yet featured distinct characteristics, thus contributing to enriching ancient Korean Buddhist culture.

국립중앙박물관 소장 유리건판의 華藏寺 指空和尙坐像에 대한 고찰

허형욱 불교미술사학회 2019 불교미술사학 Vol.28 No.-

The National Museum of Korea houses a great number of dry plate photographs taken during the period of Japanese colonial rule, including a photo of a sculpture of the Indian monk Sunyadisya (or Dhyanabhadra; Korean, Jigong) who propagated Buddhism in the early and middle fourteenth century during the Yuan Dynasty in China and the Goryeo Dynasty in Korea. When this photo was taken around 1917, the sculpture was enshrined at Hwajangsa Temple on Bobongsan Mountain in Jangdan-gun, Gyeonggi-do Province (in the present-day North Korean region). Since very few portrait sculptures of Buddhist monks survive in Korea, this photograph provides an invaluable archival source for studying relatively early seated sculptures of Master Sunyadisya. This paper infers the production date and background of the seated portrait sculpture of Master Sunyadisya at Hwajangsa Temple and examines the establishment and development of the related iconography. In 1326, Master Sunyadisya departed Yuan China for Goryeo. For two years and seven months, he spread Buddhist teachings among the people he met there, and came to exert considerable influence. He died in Yuan China in 1363, and in the following year his body was mummified by layering it with incense, lacquer, mud, and cloth. The mummy was cremated in 1368 and some of the ashes were sent to Goryeo. In 1372, Naong Hyegeun (1320– 1376), a favorite disciple of Master Sunyadisya, enshrined his ashes in a stupa at Hoeamsa Temple in Yangju, Gyeonggi-do Province. In 1393, Muhak Jacho (1327–1405), a disciple of Hyegeun, produced another stupa for Master Sunyadisya at Hwajangsa Temple. In this paper, I suggest two conjectures on the production date and background of the portrait sculpture of Master Sunyadisya at Hwajangsa Temple. First, the sculpture may have been created by disciples of Naong under the sponsorship of the royal family around 1385 at the end of the Goryeo period. Alternatively, it may have been created in the early years of the Joseon Dynasty when Muhak Jacho commissioned the production of a stupa for Master Sunyadisya at Hwajangsa in 1393. Either way, descendants of Master Sunyadisya are presumed to have participated in the creation of his portrait sculpture in the late fourteenth century. Iconographically, the crown on his head, long beard and eyebrows, and robe embellished with colorful patterns characterize this seated portrait sculptures of Master Sunyadisya at Hwajangsa Temple. According to records, Sunyadisya, a native of India, had an exotic look with dark skin and blue eyes. He was known in his later years to have grown his hair and mustache and prefer luxurious outfits like a secular person. These features are partially reflected in the seated portrait sculpture of Master Sunyadisya at Hwajangsa. The iconography of Sunyadisya in his portrait sculpture is maintained during the Joseon Dynasty in portrait paintings of Sunyadisya from the set of portrait paintings of the three masters Sunyadisya, Naong, and Muhak. Therefore, the dry plate photograph of the seated portrait sculpture of Master Sunyadisya at Hwajangsa Temple is of great significance in that it shows the early iconography of Sunyadisya from the late Goryeo or early Joseon periods as documented in literary records. 국립중앙박물관이 소장한 일제강점기의 유리건판 중에는 14세기 전․중반에 元과 고려에서 활동한 인도 출신의 指空和尙 조각상을 찍은 사진이 전한다. 이 상은 1917년경 촬영 당시 경기도 장단군 보봉산(현재 북한 지역)에 위치한 華藏寺의 寂默堂에 있었다. 그러나 이 절은 한국전쟁 때 거의 다 불타버려 상의 현존 여부는 알 수 없다. 승려의 초상조각이 많이 남아있지않은 우리나라에서 화장사 지공좌상의 유리건판은 비교적 시기가 올라가는 예를 찍은 자료로서 가치가 크다. 본고에서는 화장사 지공좌상의 제작시기와 조성배경을 추론하고, 지공 도상의 성립과 계승 양상을 살펴보았다. 지공은 1326년(충숙왕 13) 3월 元에서 고려로 와서 약 2년 7개월 간 가르침을 펼쳤으며 여말선초의 불교계에 큰 영향을 끼쳤다. 1363년 11월 원의 大都에서 입적한 지공은 이듬해 그의 시신에 香, 漆, 진흙, 布 등의 재료가 입혀져 일종의 미이라상으로 만들어졌다. 지공의 미이라상은 1368년 火葬되어 일부가 고려로 전해졌다. 지공의 유해는 그의 수제자인 나옹 혜근(1320-1376)에 의해 1372년(공민왕 21) 회암사 부도에 안치되었다. 이후 1393년에는 혜근의 제자인 무학 자초 (1327-1405)에 의해 화장사에도 지공의 부도가 세워졌다. 화장사 지공좌상은 양식적으로 조선 후기의 도식화된 僧形像들과 구별되며, 제작시기는 조선 전기 이전으로 볼 수 있다. 조성배경에는 두 가지 가능성이 있다. 첫째는 고려 말인 1385년(우왕 11)경 왕실 후원 아래 나옹 문도의 주도로 만들어졌을 가능성이고, 둘째는 조선 초 1393년(태조 2) 무학 자초가 화장사에서 지공 부도를 세울 즈음 함께 제작되었을 가능성이다. 어느 경우든 지공의 法孫들이 관여하여 그를 현창하고자 만든 것으로 생각된다. 화장사 지공좌상은 머리에 쓴 보관, 긴 눈썹과 수염, 화려한 문양의 복식 등이 도상적 특징이다. 관련 기록에 따르면, 지공은 인도 출신답게 피부가 검고 눈이 푸른 이국적인 용모를 지녔으며, 만년에는 머리와 수염을 기르고 俗人의 사치스런 옷을 입었다고 한다. 지공의 이러한 특징적 외모는 지공 도상의 조형적 근거가 되어 화장사 지공좌상에도 반영되었다. 조선시대에는 지공-나옹-무학이 함께 등장하는 三和尙 진영이 다수 그려졌다. 현존하는 조선 후기 삼화상 진영 속의 지공상에서도 화장사 지공좌상의 도상적 요소들이 공통적으로 보인다. 그러므로 화장사 지공좌상의 도상은 훗날 삼화상 진영 속의 지공상으로 계승되었다고 할 수 있다. 국립중앙박물관 유리건판의 화장사 지공좌상은 문헌기록 위주로 전하는 여말선초 지공 도상의 초기 모습을 구체적으로 보여준다는 점에서 그 의의를 찾을 수 있다.

석굴암 梵天, 帝釋天像 도상의 기원과 성립

허형욱 한국미술사학회 2005 美術史學硏究 Vol.- No.246·247

불국사 석조사리탑의 조성시기와 성격 고찰

허형욱 국립중앙박물관·한국고고미술연구소 2012 동원학술논문집 Vol.13 No.-

경주 불국사 경내 비로전 옆의 보호각에는 사리탑으로 불리는 석조품 한 구가 모셔져 있다. 이 불국사 석조사리탑은 전체적인 형태가 석등과 비슷하나 석등은 아니고, 특정한 고승의 승탑도 아니며, 그 유례를 찾기 힘든 특수한 형식의 불사리탑이라 할 수 있다. 전체적인 형태가 고려 1007년에 판각된 『보협인다라니경』에 그려진 여래의 전신사리탑과 유사한 점도 이 석조사리탑이 불사리탑의 일종임을 방증해준다. 불국사 석조사리탑의 세부장식과 문양, 그리고 조각은 고려 전기인 10세기 말에서 11세기 전기의 작품들과 비교된다. 이와 같은 양식적 특징을 문헌기록과 연결하면 제작 시기는 현종대(재위 1009~1031년)로 추정되며, 그 중에서도 불사와 관련 기록이 전하는 1020년대로 좁혀볼 수 있다. 사리장엄구 표면의 문양은 고식을 띠면서도 고려 전기의 변화된 특징을 지니고 있어 석조사리탑 자체의 편년과 대체적으로 부합한다. 석가탑 발견 고려시대 중수문서인 『불국사 무구정광탑중수기』(1024)에서 불국사의 종파를 유가업(瑜伽業)으로 명시하였고, 『불국사 서석탑중수기』(1038년)에서는 불사를 위한 미륵신앙결사의 존재를 알려주고 있어 11세기 전기 불국사 석조사리탑 제작 당시 미륵신앙이 유행했음을 알 수 있었다. 아울러 통일신라 유가계통의 경전 주석서에서 석가불과 미륵불을 함께 중시했던 교학적·신앙적 전통이 고려 전기의 유가업에도 계승되어 미술품 제작의 한 근거가 되었던 것으로 보인다. 따라서 불국사 석조사리탑은 고려 11세기 전기 유가업의 신앙과 사상적 특징을 배경으로 제작된 일종의 불사리탑이라는 해석이 가능하다. A stone structure currently called "Sarira Stupa" stands next to the Birojeon Hall located in the northwestern precinct of the Bulguksa in Gyeongju, Korea. Although the overall appearance of the stone sarira stupa in the Bulguksa Temple looks similar to ordinary buddhist stone lanterns, it is not a stone lantern nor a monk's stupa despite its similarity in appearance. Rather, it can be regarded as a specially designed Buddha's stupa. The shape of the stone sarira stupa is similar to that of the entire sarira stupa of all Buddhas found in the Bohyeopindaranigyeong bianxiang illustration which is a wooden scripture published in 1007 (Goryeo period), reaffirming that this stone sarira stupa is a kind of Buddha's stupa. The decorations and patterns etched on the surfaces of the stone sarira stupa in the Bulguksa Temple is somewhat akin to those of the artworks of the early Goryeo period(the early 10th century through the early 11th century). Such architectural characteristics have often been interpreted in connection with the buddhist ritual in the 1020s when King Hyeonjong (reigning period: 1009~1031) was still on the throne, according to the historical records on the present and past foundations of the Bulguksa Temple (Bulguksagogeumchanggi). In addition, a document of the year 1024 was discovered inside the Seokgatap Stupa in the Bulguksa Temple, revealing that the Bulguksa Temple was a member of the Yoga Karma Sect. Another document of the year 1038 discovered inslde the Seokgatap Stupa also showed that a religious group worshipping Maitreya Buddha had been formed in the Bulguksa Temple. This implies that the Yoga Karma Sect's buddhism focused on Maitreya Buddha grew in popularity in the early llst century. At the same time, it seems that the doctrinal and religious traditions centered on both Shakyamuni Buddha and Maitreya Buddha, which can be found in the scripture manuals of the monks belonging to the Yoga Karma Sect in the Unified Silla period, were passed down to the Yoga Karma Sect in the early years of the Goryeo period, playing a crucial part in the construction of the stone sarira stupa in the Bulguksa Temple. In conclusion, it can be said that the stone sarira stupa in the Bulguksa Temple is a kind of Buddha's stupa built on the basis of the religious beliefs and ideas of the Yoga Karma Sect during the reign of King Hyeonjong in the early 11st century Goryeo period.

Review: Exhibition and Research on Korean Buddhist Sculpture Since 2000

허형욱 한국학중앙연구원 한국학중앙연구원 2020 THE REVIEW OF KOREAN STUDIES Vol.23 No.1

전라남도 順天市 梅谷洞 석탑 발견 成化四年(1468)銘 청동불감과 금동아미타삼존불좌상

허형욱 국립중앙박물관 2004 미술자료 Vol.- No.70,71

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허형욱 불교미술사학회 2006 불교미술사학 Vol.4 No.-

2022 신라 미술사학 연구 성과와 과제

허형욱 동국대학교 신라문화연구소 2023 신라학 리뷰 Vol.2 No.-