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황룡사 중금당 佛眷屬 16존상의 복원 : 불제자상, 금강역사상과 獅子像그리고 공양자상
임영애(Lim, Young-ae) 신라사학회 2011 新羅史學報 Vol.0 No.23
이 글은 황룡사 중금당 안에 남겨진 16기 대석의 주인공이 누구인지 살펴본 것이다. 그 결과 불삼존상 좌우의 10기 대석은 불제자상, 좌우벽 앞의 4기는 금강역사상과 獅子像, 그 앞 공간의 2기는 공양자상의 것으로 상정하였다. 동일한 구성은 통일신라 연기지방의 불비상에도 보인다. 특히 비암사의 673년 癸酉銘 불비상과 蓮華寺 불비상에도 승려상, 금강역사상, 사자상이 함께 등장하며, 689년 己丑銘 불비상에는 불제자상, 금강역사상, 사자상, 궤좌의 공양자상이 모두 등장하고 있어 지금까지 필자의 추정을 뒷받침해준다. 6세기 후반 황룡사 중금당의 불존상이 조성될 무렵 신라에는 사천왕상이 존재하지 않았다. 하지만 7세기 중~후반 사천왕상이 유해하면서 경주에 사천왕사가 등장하고, 감은사사리기의 사천왕상 등이 만들어진다. 사천왕상의 유행과 함께 8세기 중엽의 석굴암에는 사천왕상이 추가된다. 이처럼 시대에 따라 존상의 가감은 있겠지만 석굴암 안에 불상, 보살상, 불제자상, 사천왕상, 금강역사상, 팔부중 등 여러 존상이 함께 등장할 수 있었던 것도 황룡사 중금당 내 여러 종류의 존상이 연출한 장엄함에 강한 인상을 받은 결과라고 생각한다. 한국에 불교가 유입된 이후 초기의 불교조각은 단독상이거나 삼존상이었다. 이후 불삼존상 이외에 금강역사상이나 사자상, 공양자상과 같은 다양한 불교조각의 존상들이 한자리에 동시에 배치되고 이들이 일체를 이루기 사작한 것이 바로 이 황룡사지 중금당에서 비롯되었다는 점에서 황룡사의 불교조각이 차지하는 의미는 특별하다. This paper has investigated who are the models of the 16 pedestal bases left in the main hall of the Hwangryong Temple. As a result, it has been concluded that the 10 pedestal bases on the right and left sides of the Buddha’s triad are for figures of Buddhist disciples, the 4 bases in front of the right and left walls for figures of Vajrapani and lions, and the 2 bases in the anterior space for figures of Buddhist offerers. The same composition is shown from the Buddhist stele in the area of Yeon-gi in the Unified Silla Dynasty. Especially, the fact that the Buddhist steles made in 673 with inscriptions of the year of the chicken in the Biam Temple, and the one in the Yeonhwa Temple show figures of monks, Vajrapani, and Buddhist offerers, and the other one made in 689 with inscriptions of the year of the ox reveals figures of Buddhist disciples, Vajrapani, lions, and Buddhist offerers together supports the current author’s conjecture. There were no figures of the Four Heavenly Kings in Silla toward the time when the figure of Buddha in the Main Hall of the Hwagryong Temple was created in the late 6th century. However, as the figures of the Four Heavenly Kings became in vogue in the mid and late 7th century, the Temple of the Four Heavenly Kings appeared Gyeongju, and figures like the Four Heavenly Kings on the Sari base in the Gameun Temple were produced. With the figures of the Four Hevenly Kings in fashion, another instance of such figures is added to the Seokgul Temple in the mid 8thcentury. Though there have been addition and elimination of Buddha figures over times, the common occurrences of various figures like those of Buddha, Bodhisattvas, Buddhist disciples, the Four Heavenly Kings, Vajrapani, and the Eight Kinds of Divine Guardians were the result of the solemnity exerted by the diverse figures in the mail hall of the Hwangryong Temple. The Buddhis sculpture in the early days of Buddhism after it was introduced into Korea showed Buddha’s single figures or Buddha’s triad. The Buddhist sculpture as it is in the Hwangryong Temple has a special significance in that it was from the main hall of the Hwangryong Temple that the simulteneous array and unification of various figures of Buddhist sculpture including figures of Vajrapani, lions, and Buddhist offerers as well as Buddha’s triad originated.
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김숙경,Kim, Sookyung 한국건축역사학회 2016 건축역사연구 Vol.25 No.4
This paper aimed to identify the units of measuring scale in Hwangnyongsa temple planning with the published excavation survey reports. Hwangyongsa temple site was planned under Silla Capital's urban planning in 6~7C, its full size was $800{\times}800$, and main temple was $400{\times}515$ of Goguryeo's system of measurement. Main hall was located in the center of Hwangnyongsa temple site, and its location could be seen that there was the arrangement of main temple divided into 3 : 2. Building plan measuring units proved to be 351~356mm and 294~ 296mm by analyzing measured data of remains. Lecture hall and Wooden pagoda were rebuilt by using the ancestors' units of measuring scale again and Bell hall was not planned by Tang's system of measurement in middle of 8C. In this respect, it would be important to have a deliberate attitude and lay down stereotypes on research of the units of measuring scale in ancient architecture.
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