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The Establishment and Development of the Iconography of Ancient Chinese Bhaisajyaguru Buddha Statues
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중국 古代 약사여래 도상의 성립과 전개

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Type
Academic journal
Author
Huh(Heo) Hyeonguk (국립중앙박물관)
Journal
Association Of Art History Misulsa Yeongu : Journal of Art History No.42 KCI Accredited Journals
Published
2022.6
Pages
135 - 176 (42page)
DOI
10.52799/JAH.2022.06.42.135

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The Establishment and Development of the Iconography of Ancient Chinese Bhaisajyaguru Buddha Statues
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Studies on the Chinese Bhaisajyaguru Buddha (the Medicine Buddha) statues have previously focused on murals and relief statues within regional village stone cave temples. However, it is necessary to look at the overall trajectory of Bhaisajyaguru Buddha statues, including the Buddha sculptures made from gilt-bronze and stone. This paper therefore examines the establishment, development, and characteristics of Bhaisajyaguru Buddha statues broadly from the fifth century, the period of North and South Dynasties, to the first half of the 10th century, Five Dynasties period.
In China, Bhaisajyaguru Buddha statues began to be produced in the late fifth century. In the 5th and 6th centuries, Bhaisajyaguru Buddha statues were made with the same hand postures of Abhaya and Varada mudra. Later, from the Sui Dynasty to the Tang Dynasty, different types of Bhaisajyaguru Buddha statues were produced holding a medicine bowl and Khakkhara (a cane/stick). The medicine bowl appeared in the late sixth and early seventh centuries, whereas the Khakkhara was shown a little later from the early seventh century. In terms of posture, Bhaisajyaguru Buddha statues holding possessions first appeared in the standing position, and then gradually transitioned to a seated position.
The origin of the medicine bowl and Khakkhara of the Bhaisajyaguru Buddha statue can be found in the traditional notion that Shakyamuni Buddha used an alms bowl and a cane. The alms bowl and Khakkhara represented ideas of strengthened spirituality and symbolism in China. For example, as seen in the Tuoluoni Zaji, an early Esoteric Buddhist scripture translated into Chinese in the sixth century, an alms bowl referred to a bowl containing medicine that treats people’s diseases and guides them to enlightenment, and a Khakkhara represented the Buddha’s active desire to save people, as a wand of mysterious magic power. As Bhaisajyaguru Buddha beliefs had become immensely popular since the Sui Dynasty, it seems that people tried to visually emphasize the ability of the Bhaisajyaguru Buddha, who could save people by using a diverse range of tools. This unique figure of Bhaisajyaguru Buddha was established by a combination of factors rather than through any single scripture.
Chinese Bhaisajyaguru Buddha statues are characterized by a variety of combinations, such as the Three-Figure Statue with Avalokitesvara Bodhisattva and Ksitigarbha Bodhisattva as well as the Five-Figure Statue and Seven-Figure Statue, regardless of scriptural reference. In addition to these, this paper also examines the context of Seven Bhaisajyaguru Buddha Statuary, which has not previously been discussed in research. The Seven Bhaisajyaguru Buddha Statue is a combination of seven Bhaisajyaguru Buddha in Yaksayurigwang Chilbulbonwon Gongdeokgyeong, translated by Yijing (635~713) in 707. In fact, in 834, the seated statue of Clay Seven Bhaisajyaguru Buddha was enshrined in the Dunhuang No. 365 Cave.
This paper considers the establishment and development of Bhaisajyaguru Buddha statuary in ancient China helps us to systematically understand the development of the numerous regional Bhaisajyaguru Buddha traditions historically. This context is notable as the starting point and standard for research on the East Asian Bhaisajyaguru Buddha statues, which have undergone various transformations and localizations based on the time and region of their production.

그동안 중국 약사여래상 연구는 주로 지역별 석굴사원의 벽화나 부조상을 중심으로 이루어졌으나, 전반적인 이해를 위해서는 금동불과 석불 등의 조각을 포함한 큰 흐름을 살펴볼 필요가 있다. 이에 본고는 남북조시대 5세기경부터 唐末五代인 10세기 중엽까지 약사여래 도상의 성립과 전개 및 그 특징을 거시적 관점에서 고찰하였다.
중국에서 약사여래상은 대략 5세기 후반부터 제작되기 시작하였다. 5~6세기에는 약사여래상이 다른 여래상들과 구별없이 시무외·여원인같은 通印의 자세로 만들어졌다. 이후 隋에서 唐代에는 손에 藥器와 錫杖을 든 차별화된 약사여래 도상이 제작되었다. 그중 약기는 6세기 말~7세기 초에 등장했고, 석장은 조금 뒤인 당 초기인 7세기 전기부터 확인된다. 자세 면에서 약사여래상의 지물은 立像에서 먼저 출현한 후 점차 坐像으로 범위를 확대하여 표현되었다.
약사여래상이 드는 약기와 석장의 기원은 석가모니불이 발우와 지팡이를 사용했다는 옛 傳承에서 찾을 수 있다. 발우와 석장은 중국에서 영험성과 상징성이 강화되는 추세였다. 예컨대, 6세기에 한역된 초기밀교 경전인 『陀羅尼雜集』에서 보듯, 발우는 중생의 질병을 치료하고 깨달음으로 인도하는 法藥을 담는 그릇을 뜻하며, 석장은 신비로운 法의 지팡이로서 중생을 구하려는 여래의 적극적 태도를 나타낸다. 수대 이후 약사신앙이 크게 유행하면서 이러한 종교적 효험이 기대되는 法具들을 약사여래상의 지물로 표현함으로써 약사여래의 중생구제 능력을 시각적으로 강조하려 했던 것으로 보인다. 이러한 약사여래 특유의 도상은 어떤 하나의 경전보다는 여러 요인들이 복합적으로 영향을 미쳐서 성립됐다고 할 수 있다.
중국의 약사여래상은 관음, 지장보살을 거느린 삼존상을 비롯하여 오존상 및 칠존상으로도 제작되는 등 경전의 내용에 구애받지 않고 다양하게 조합된 것이 특징이다. 그리고 본고는 그간 잘 다루어지지 않은 칠불약사 도상도 살펴보았다. 칠불약사상은 707년 義淨(635~713)이 한역한 『약사유리광칠불본원공덕경(칠불약사경)』에 나오는 서로 다른 7존의 여래들을 함께 만든 것이다. 실제로 834년 작 돈황 제365호굴(七佛堂)에 소조칠불약사좌상이 봉안된 바 있다.
중국 古代 약사여래 도상의 성립과 전개에 대한 고찰은 그 이후에 조성된 수많은 약사여래상을 체계적으로 이해하는 데 도움을 준다. 또한 시대와 지역에 따라 다양한 변용과 토착화가 이루어졌던 동아시아 약사여래상 연구의 출발이자 기준이 된다는 점에서도 중요하다.
#중국 약사신앙(中國 藥師信仰, Chinese Bhaisajyaguru Buddha Belief) #약사여래 도상(藥師如來 圖像, Iconography of Bhaisajyaguru Buddha: the Medicine Buddha #약기(藥器, Medicine Bowl) #발우(鉢盂, Alms Bowl) #석장(錫杖, Khakkhara) #칠불약사상(七佛藥師像, Seven Bhaisajyaguru Buddha Statue)

Contents

Ⅰ. 머리말
Ⅱ. 南北朝時代와 隋代의 지물이 없는 약사여래상
Ⅲ. 隋·唐代 지물을 가진 약사여래 도상의 성립
IV. 唐代 약사여래상의 다양한 존상 조합
V. 七佛藥師像의 도상
Ⅵ. 맺음말
참고문헌
국문초록
Abstract

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