河北地方에서 주로 出土되고 있는 白玉像은 北朝期 佛敎신앙의 실태와 石窟 이외의 石造像의 造成傾向을 보여주는 좋은 실례라고 할 수 있다. 그 중 曲陽像과 臨漳像에 대해서는 선행연구 및 데이터가 축적되어 있으나, 다른 地域의 경우에는 단편적인 자료만이 남아있는 상황이었다.
本稿에서는 상기의 두 地域에서 보이는 도상상의 共通點과 相異點을 바탕으로 다른 여타 지역의 白玉像까지 광범위하게 검토해 白玉像의 제작배경을 당시 河北地方의 交通路를 통해 고찰하였다.
이러한 고찰을 통해, 北魏시대에는 太行山脈을 넘어 平城과 中山城을 연결하는 河北의 北部地域이 번영했지만, 東魏・北齊시대에는 太原과 鄴城을 연결하는 交通路의 발달로 常山地域이 교통의 요충지였음을 알 수 있었다.
白玉像의 출토지는 이러한 交通路와 그 주변의 요충지는 本稿에서 살펴본 白玉像의 出土地와도 밀접한 관련이 있었다. 그 중 그동안 제작 배경이 전혀 알려지지 않았던 藁城像의 경우, 藁城이 常山 옆에 위치하고 있는 지리적 사실을 고려할 때, 鄴城과 太原에서 유행한 樣式의 영향을 받은 것으로 추측할 수 있다. 즉 藁城像에 표현된 蓮花紋이나 雙樹光背 등에서 보이는 장식적인 表現과 透彫 기법은, 鄴城의 양식이 太原으로 전파되는 루트를 통해 전해진 것임과 동시에 역루트를 통해 太原에서 유행한 화려하고 귀족적인 양식이 藁城에도 전해진 것으로 볼 수 있다.
결론적으로 말하면 藁城은 거리상 鄴城 보다는 曲陽과 가깝지만, 白玉像은 鄴城과 太原의 樣式에 더 가깝다. 그 배경에는 藁城이 東魏, 北齊시대에 발달한 太原-藁城-鄴을 연결하는 常山路에 인접하고 있는 점과 관련성이 있었다. 이에 반해 曲陽은 常山路에서 벗어난 지리상의 요인에 기인한 것이기도 하다.
白玉像은 중국 전체에서 보면 河北全地域에서 광범위하게 출토되고 있는 것처럼 보이지만, 本稿의 고찰을 통해서, 白玉像 出土 지역은 交通路와 밀접한 관련을 보이고, 그 안에서의 樣式的 相異點은 河北地方의 交通路의 발달 및 쇠퇴와 관련하고 있음을 알 수 있었다. 즉 白玉像은 이러한 交通路를 통해 새로운 樣式의 傳播와 受容의 과정을 거쳐 小地域圈別로 특징적으로 발전하게 되었다.
앞으로는 교통로를 통한 지역간의 교류와 白玉像의 출토지역과의 상호관련성을 중심으로 新出土 白玉像을 포함하여 각국에 산재한 白玉像에 대해 체계적인 해석을 시도해보고자 한다.
This article analyzes the regional characteristics of white marble sculptures excavated from the Hebei region, taking into consideration the northern dynasties traffic roads. Previous studies have focused on the white marble sculptures excavated from Quyang(曲陽), while only fragmentary reports on white marble sculpture from other regions have been published. Therefore, this article presents a broad analysis on the form and style depicted in white marble sculpture excavated from Linzhang(臨漳) and Gaocheng(藁城) as well as Quyang.
The white marble sculptures from the Hebei regions such as Quyang, Linzhang and Gaocheng show the regional characteristics in the halos(光背) and bases decorated with Spirit Kings(神王像) Altarpiece in terms of form and style. While the white marble sculptures of Quyang are primarily characterized by boat-shaped halos(舟形光背), those from Linzhang feature a double-tree motif halo(双樹光背). In addition, the white marble sculptures in Gaocheng have both boat-shaped halos and double-tree motif halos as is seen in the Northern Qi Dynasty White Marble Altarpiece with Seated Buddhas Dated by Inscription to Heqing 1. On the other hand, Spirit Kings are not seen in the white marble sculpture excavated from Quyang and Gaocheng, and can be found primarily in the white marble sculpture of Linzhang.
Therefore, in the Hebei regions, the double-tree motif halo and Spirit King are seen primarily in the white marble sculpture excavated from Linzhang, and the white marbles sculptures from Linzhang and Gaocheng are relatively large(approximately 1 meter long). The formal characteristics of the white marble sculptures of southern Hebei region excavated from Linzhang and the white marble sculptures of northern Hebei region excavated from Quyang illustrate that these sculptures were produced within a small region even within the Hebei region.
On the other hand, despite its geographic proximity to Quyang, the white marble sculptures excavated from the Gaocheng area have characteristics similar to those excavated from Linzhang. This article presents historical background of sculpture production with consideration of the northern dynasties traffic roads. The northern dynasties traffic roads in the Hebei region were developed during the early Northern Wei period(北魏). These roads included Shatian road(沙泉道) connecting Pingcheng(平城) with Zhongshancheng(中山城), and the Southern route along Taixing mountain range(太行山脈). Later, in the Eastern Wei(東魏) and the Northern Qi Dynasties(北斉), Jing Xing road(井陘路) was developed, which connected Tai yuan(太原) with Ye(鄴, the capital city) and crossed the Taixing Mountain Range.
Therefore, in the Hebei regions, the development of traffic roads by each of the northern dynasties was closely related to the locations of the aforementioned white marble sculptures. Specifically, Quyang, located along the traffic roads developed during the Northern Wei period, has many excavated white marble sculptures dated to the Northern Wei period. Linzhang, a capital of both the Eastern Wei Dynasty and the Northern Qi Dynasty, has excavated white marble sculptures after Eastern Wei Dynasty age. Gaocheng, located along the traffic roads connecting Taiyuan with Linzhang, has excavated white marble sculptures produced during the Eastern Wei Dynasty to the Northern Qi Dynasty. The prevalent styles in Taiyuan and Linzhang were likely introduced to Gaocheng through the traffic roads.
The studies presented in this article indicate that Quyang, Linzhang and Gaocheng , three areas in Hebei regions, can be classified as a small region in terms of the form of white marble sculpture that is closely related to the development of traffic roads. I believe that such viewpoints will provide a different perspective on the diversity of the white marble sculptures of the Hebei style, coupled with the understanding of the regional characteristics of a small region, and furthermore, provide the standards for evaluating many of white marble sculptures from unknown locations and production sites.
