9세기 초반 이후에 성립 되어진 치성광여래도상은 시대에 따라 전승되며 변화를 보이는데 이는 신앙의 성격이 변화하였음을 보여주는 것이다. 9세기 중기 五星이 眷屬으로 그려진 초기도상은 외래신앙인 九曜信仰을 받아들이는 과정에서 중국인들에게 익숙한 전통점성신앙인 오성신앙과 연관지어 치성광여래신앙을 이해하였다는 것을 의미한다. 그리고 12궁과 28수가 나타나는 10세기 이후 강림형식의 개인공덕용 도상과 설법회형식의 예배용도상의 유행은 당시 신앙이 정착되어 대중의 인기를 얻었다는 사실을 알려준다. 14세기 이후 도상에서 12궁과 28수가 사라지고 있는 현상과 치성광여래가 화면에서 강조되고 대승의 보살행을 의미하는 白牛車가 출현하는 것은 신앙의 내용이 초기 星變과 관련된 특수한 목적의 소재길상에서 수명장수와 부귀영화를 희망하는 일반적인 기복신앙으로 변화하고 있다는 것을 의미한다. 이와 같은 이유로 도상에서도 星宿像은 본질적인 의미를 잃고 불화의 일반권속들과 같은 의미로 그려져 전승되고 있었다.
The periodical transformation which has been shown in the transmission of the icon of Buddha in China indicates that the characteristics of Buddhist faith in the country had also been changed with the course of time. During the formation of the belief of Tejaprabha Buddha(熾盛光如來), Chinese had understood the Navagraha(九曜) faith introduced from India as their traditional astrology. As a result of this inclination, the initial form of the icon ‘the Advent of Buddhas in Progression’(降臨圖上) in Tang(唐) Dynasty and Five Dynasties and Ten Kingdoms(五代十國) period had a transitional feature in which Tejaprabha Buddha depicted with the Five Stars(五星) or the Big Dipper(七星). Most of the icons with this initial form had narrow width, and more related to ‘the Print of Invoking A Blessing’(消災吉祥圖) which had been used to practice the Buddhist merit of an individual person, rather than the Scene Painting of a Buddhist(後佛畵) used for worship. By the 10th century, the full-scaled icon of worship that illustrates the assembly of Tejaprabha Buddha(說法形式) had begun to emerge with the icon of the Advent of Buddhas in Progression for private practice of virtue. This phenomenon refers to the prosperity and establishment of the faith on the country. The reconciliation of tradition had progressed as a branch of the establishment, which is characterized by the advent of the icon of a government official(卿相形) holding chinese ritual baton(笏板) and the transformation of the form of the Star Icon(星宿) into a hermit in a robe of feathers. Furthermore, the Golden Wheel(金 輪) known as the distinct symbol of Tejaprabha Buddha had been firmed in China and become the significant feature of the icons after the 12th century. Since astronomical knowledge in Islamic culture had been introduced into China in the 14th century, Constellations of the Zodiac and Twenty-eight mansions(十二 宮.二十八宿) disappeared from the icons. The trait of the belief of Tejaprabha Buddha had also changed to focus mainly on the wish of good auspices(消災吉祥), and there had been a change of the figures in the icons to be arranged with Tejaprabha Buddha as the central figure. The icon which was painted as the scene painting in a royal palace(殿閣) for worship depicting the assembly of Tejaprabha Buddha, especially, was a large scale as a worship picture. In addition, multifarious figures appeared in the icon, including a attendant Bodhisattva(脇侍菩 薩) who had not been in existence in the icons of the earlier periods. The form of icons on the descent from heaven(降臨形式) is surmised that it had been transmitted by being used in smaller scale works, such as the icon giving an explanation as a picture of Sutra(經變相圖). Moreover, it is noticed that the shape of the Saturn(土曜) which had appeared in the icons illustrating the assembly of Tejaprabha Buddha and the Holy Crowd(聖衆) that had been shown in that of Yuan.Ming(元.明) Dynasty also exist in the form of icons on the advent.
目次
I. 머리말 374 II. 中國 熾盛光如來 圖像의 淵源과 成立 375 III. 中國 熾盛光如來 圖像의 時代的 變遷 381 IV. 맺음말 400
