본 논문은 북제(北齊: 550~577) 북향당산석굴 중 가장 이른 시기인 552년경 조영된 북대굴을 대상으로 관련 기록과 특징, 석굴의 원형과 조성 목적 등을 살펴 북제와 신라 불교조각과의 관계, 경주 골굴석굴 조성에 미친 영향을 고찰해 보았다. 북향당산석굴 북대굴은 북제 문선제가 조영한 굴로, 중심탑주 3면에 1불 2보살상으로 구성된 삼세불(석가, 정광불, 미륵불)이 봉안되어 있다. 중심탑주 상단의 빈 감실은 기록으로 전하는 문선제(550~559 재위) 관을 안치한 장소일 것으로 추정되며, 하남성 안양 출토로 전하는 석관상(石棺床)은 문선제 장례구로 짐작되고 있어, 당시 소그드 문화에 탐닉했던 북제 황실의 단면을 엿볼 수 있다. 남아 있는 북향당산석굴 불보살상은 이전 북위~동서위 시기 수골청상형(秀骨淸像形) 불상의 모습이 아니라, 양감이 풍부하고 얼굴의 부피감이 잘 표현된 깔끔하고 중후한 모델링이 구현되어 있다. 이러한 급격한 변화는 문선제가 북위의 한화(漢化) 정책에 반하여 선비화(鮮卑化) 정책을 추구하면서 소그드 문화를 선호하였던 것과 연결시켜볼 수 있을 듯하다. 당시 신라는 진흥왕(540-576 재위) 때 한강유역을 차지하여 해로를 통한 중국과의 통로가 열렸다. 북제와 고구려의 관계 악화로 이전에는 고구려에 수여되던 “동이교위(東夷校尉)” 책봉을 565년에 신라가 수여 받기도 하였다. 진흥왕대 신라는 북제와 직접 교역하면서 업성(鄴城)의 발전된 문물, 특히 북향당산석굴의 뛰어난 조형미가 신라에 직접 전해져 국보 78호와 83호 반가사유상과 같은 기념비적인 찬란한 불교미술을 꽃피웠을 것으로 짐작된다. 출토지는 확실하지 않으나 6세기 후반~7세기 초에 만들어진 국보78호와 83호 반가사유상은 런던의 Victoria and Albert Museum에 소장된 북향당산석굴의 중심석주 북면 불상의 얼굴과 비교되며, 양감 있고 당당한 모델링에서 북향당산석굴 존상과 유사한 점이 보인다. 또한 일월식(日月飾) 보관(寶冠)이나 둥근 의자 등 세부 표현에서는 북제에서 활동하던 소그드인들의 미술이 반영되었다. 북향당산석굴은 불교조각에서뿐 아니라 골굴석굴 개척에도 영향을 미쳤을 것이다. 지리적으로 외래 문물의 유입이 빠르게 입수되고 왕실의 행차가 잦았던 교통로상에 위치해 있던 두 절의 위치와 북제의 승조(僧稠, 480~560) 스님과 신라의 원효(元曉, 617~686) 스님에 대해 검토하여 보았으며, 신라 초기 수행굴로서의 골굴석굴 성격도 살펴보았다.
This paper examines the North Cave, the earliest of the Northern Xiangtangshan Caves of the Northern Qi dynasty (550-577), based on related records, characteristics, the cave temple archetype, and purpose of its construction, while also studying Northern Qi’s relationship with the Buddhist sculpture of Korea’s Silla period and its influence on the construction of Golgul cave in Gyeongju, the Silla capital. The North Cave of the Northern Xiangtangshan Caves, built under the sponsorship of Emperor Wenxuan of Northern Qi, has a central pillar featuring sculptures of one Buddha and two bodhisattvas on three sides. The images are collectively known as the three Buddhas of the past, present and future (Dipankara, Shakyamuni, and Maitreya). Based on records, it is conjectured that the coffin of Emperor Wenxuan (r. 550-559) was enshrined in an empty niche at the top of the central pillar. The stone coffin platform presumably excavated from the city of Anyang in Henan Province, China, is thought to be a funerary item of Emperor Wenxuan. This sheds light on one aspect of the imperial court of Northern Wei, which admired the Sogdian culture. The Buddha and bodhisattva sculptures remaining in the Northern Xiangtangshan Caves are not in the graceful style known as xui gu qing xiang, literally “elegant bones and clear appearance,” that characterized the Buddhist images of the preceding Northern Wei and Eastern and Western Wei dynasties, but have a generous sense of volume and clean modelling that expresses the fullness of the face. It seems this sudden change in the style of Buddhist sculptures of Northern Qi is related to the court’s preference for the Sogdian culture, as Emperor Wenxuan opposed the policy of Northern Qi’s Sinicization and pursued the policy of adherence to Xianbei traditions. In Korea, during the reign of King Jinheung (r. 540-576) the Silla Kingdom occupied the Han River basin and had access to China via maritime routes. As Northern Qi and Goguryeo relations worsened, the title of Dongyi Gyowi (Colonel of the Dongyi) that had been conferred on Goguryeo was transferred to Silla in 565. While King Jinhueng reigned, Silla conducted direct trade with Northern Qi, which led to the direct introduction of the advanced civilization of Ye (Northern Qi capital), especially the sculptural art of the Northern Xiangtangshan Caves. It is surmised that this kind of exchange influenced the creation of monumental works of Korean Buddhist art, namely the two pensive images that have been designated National Treasure No.78 and No.83, respectively. These two sculptures, made between the latter half of the sixth century and the early seventh century, can be compared with the Buddha sculpture found on the northern side of the central pillar in the Northern Xiangtangshan Caves, now preserved at the Victoria and Albert Museum in London. The faces of the Korean pensive images in their sense of volume and confident modelling are similar to the face of the Xiangtangshan principal icon. Moreover, expression of the details such as the “sun-and-moon” decorations on crown and the round seat reflect the style of the Sogdian people who were active in the Northern Qi dynasty. The Northern Xiangtangshan Caves would have influenced not only Silla Buddhist sculpture but also the construction of Golgul Cave in Gyeongju. This paper examines the location of the Chinese and Korean cave temples, which were situated on traffic routes where the introduction of foreign culture was rapid and where royal processions often took place, and also Master Sengchou (480-560) of Northern Qi and the Monk Wonhyo (617-686) of Silla, as well as the nature of Golgul Cave as a temple for spiritual practice in the early Silla period.