Heavenly Nymphs - 'bicheon'

"Celestial Nymphs, Heavenly Maidens to Transmit the Buddha's Voice: Playing Instruments and Scattering Flowers in Praise of the Buddha"

Celestial nymphs (bicheon) are a type of heavenly being who give offerings and praise to the Buddha by playing instruments, dancing and sprinkling flowers. Though unseen by ordinary people, they fly at will with their supernatural powers. Wherever Buddhas teach or bodhisattvas reside, celestial nymphs fly over them and sprinkle flowers or play instruments. How were these attractive celestial nymphs, who float in the air with their heavenly robes fluttering, introduced to Korea from India through China? Let’s see where these celestial nymphs are found in a temple compound, and further explore the music and instruments they play.

Celestial nymphs are mythological beings that symbolize the beauty and peace of the Buddha realm, the ideal world of Buddhism. As an artistic expression of our desire to fly as well, celestial nymphs can be compared to the angels of Western mythology. However, unlike Western angels who need wings, celestial nymphs of the East, especially those depicted in Buddhism, have much more freedom. The idea that one can fly without wings is a somewhat novel concept by itself. Perhaps celestial nymphs are just an expression of our own inner desire to fly without the aid of wings.

Originating in the Indian districts of Gandhara and Mathura, the concept of celestial nymphs was introduced to China via the Silk Road and then to Korea. A depiction of male and female celestial beings sprinkling flowers is one of the oldest examples of Indian art. In Indian mythology they were considered low ranking devas, and the females were called apsaras or devatas. The most often depicted image of celestial nymphs, afloat in the air with celestial robes fluttering, is reminiscent of the legendary Daoist fairies, but in fact, originally, they were not considered that beautiful. In Indian mythology, depictions of celestial nymphs evolved from images of gandharvas or kinnaras, which may have been animals or birds; nobody is quite sure. They often had a human head and a bird-like body or a horse head with a human body. They evolved into more of a fairy image in China and Korea where imported Buddhist thought coexisted with China’s concept of Daoist hermits. The celestial nymphs depicted in the Dunhuang grottoes had already been transformed into the elegant and charming images of Daoist legends. These beautiful Chinese-style celestial nymphs were introduced to Korea in the late 4th century during Korea’s Three Kingdoms Period, along with Buddhism. After some changes in style, celestial nymphs were established in Korea as what we now call bicheon.

Korea’s Celestial Nymphs Transformed into Beautiful Fairies

Already transformed in China into attractive Daoist fairies, in Korea, celestial nymphs were depicted as beings who could freely soar into the sky or descend to earth draped in fluttering celestial robes. They first appeared in Korea in the murals of Goguryeo dynasty tombs, and on a queen’s pillow discovered in the Muryeong Royal Tomb of the Baekje kingdom. During the Unified Silla era, celestial nymphs appeared as decorative motifs on the nimbi and pedestals of Buddha statues, and on metal artworks such as temple bells and sarira utensils. 

Celestial nymphs in Goguryeo’s ancient tombs have nimbi, their half-naked bodies are elegantly curved, and their robes and wide waistbands, depicted in sophisticated artistic techniques, convey the freedom and feeling of soaring. They look free and unhindered. In murals they convey a sense of the Buddha realm through their total freedom. 

This evolution of Korea’s celestial nymphs continued on the Bronze Bell of Sangwonsa Temple (National Treasure no. 36). The most exquisite of Korean flying celestial nymph images are found on this temple bell, located on Mt. Odaesan. Though rather small in size, the Bronze Bell of Sangwonsa Temple has a multitude of celestial nymphs on its surface, giving the impression they are dancing in sequence. They are depicted playing a lute and a wind instrument called a saenghwang. Their robes flutter upward from the ascending air currents, and the vegetal design on their waistbands heightens their allure. Another temple bell similar in stature to the Bronze Bell of Sangwonsa Temple is the Bell of King Seongdeok (National Treasure no. 29), aka Emille Bell, which is housed in the Gyeongju National Museum. Production of the bell was begun by Silla’s King Gyeongdeok to honor his father King Seongdeok, but it was completed in 771 by his successor, King Hyegong. The bell is known for its aesthetic beauty and graceful form, along with its clear, deep sound. 

Unlike the celestial nymphs on the Bronze Bell of Sangwonsa Temple, those on the Bell of King Seongdeok are presenting offerings to the Buddha, probably because the bell was crafted to pray for the eternal repose of the deceased King Seongdeok. Seated on opposite sides of the dangjwa, the bell’s striking point, two exquisite celestial nymphs captivate even modern designers. Holding lotuses in their open palms, they are kneeling on lotus pedestals. Their cascading robes and necklaces fluttering in the wind, they make offerings while encircled by large and small floral scrolls from heaven. Artworks that are dazzling typically lack loftiness, and lofty artworks typically lack luxuriousness. However, the celestial nymphs on the Emille Bell are both lofty and luxurious. They exude stillness in the midst of movement, and hint at movement in their stillness. 

Although these celestial nymphs are typically inscribed on cold, hard surfaces, such as bells and walls, their free and joyful postures evoke thoughts of subtle music and beautiful scenes of the Pure Land. Singing of the limitless freedom and beauty of the Buddha realm, and the inexhaustible truth of the Buddha, celestial nymphs are eternal symbols that embody the ideals of modern Buddhists. 

Why the Bell of King Seongdeok is called the Emille Bell 

On exhibit in the Gyeongju National Museum, the Bell of King Seongdeok (National Treasure No. 29) is also called the “Emille Bell,” based on a heartbreaking legend. Silla’s King Gyeongdeok wanted to craft a bell for Bongdeoksa Temple to honor his deceased father, King Seongdeok. Although several bells were made, their sound never earned the king’s approval. To augment their sincere devotion, monks began to solicit donations from subjects. One day, a woman from an impoverished family donated her daughter as she had nothing else to give, and legend says the child was put into the molten bronze to make a new bell. When the bell was rung, everyone heard “Emille… Emille…” as if the child was calling her mother. And that’s why it came to be called the “Emille Bell.” Is it true that a child was sacrificed to make a bell? Buddhists don’t even kill insects as Buddhism prohibits all killing. So how could Buddhists make a temple bell, which is supposed to save sentient beings, by sacrificing a child? A scientific analysis of the metal in the bell revealed no phosphorus, which would have been present if human bones had been added. Sometimes legends are just legends. The flying celestial holding an incense burner is clearly and earnestly praying for King Seongdeok to be reborn in the Pure Land.

The Bell of King Seongdeok aka the Bell of Emille (National Treasure No. 29) - Source

Celestial Nymphs Depicted in Temple Compounds Praise the Buddhas Who Live in the Buddha Realm

Although mostly found as decorative design on temple bells, celestial nymphs are also found on the ceilings, main altars and canopies of Dharma halls, and on stone lanterns, monks’ stupas and decorative paintings on the walls of Dharma halls. On the underside of canopies placed above Buddha statues we also see various carved designs of dragons, flames, precious jewels and phoenixes. Surrounding the canopies are celestial nymphs seeming to emerge from the ceiling. These dazzling sculptures give a dramatic effect to the inner space of Buddha halls. Let us find out more about the celestial nymphs adorning these places.

Celestial nymphs are divided into three types: those that play instruments, those that fly and those that make offerings. 

Instrument-playing celestials play various instruments; flying celestials are either descending from heaven or flying horizontally; those making offerings to the Buddha are holding lotuses or incense burners. Temple bells from the 8th century typically feature instrument-playing celestials sitting lightly on clouds with their robes fluttering upward in graceful curves. Temple bells from the late 8th century and 9th century typically feature celestials making offerings while kneeling on lotus pedestals or instrument-playing celestials. In addition to temple bells, celestial nymphs are also found on Dharma halls, pagodas and monks’ stupas. Some noteworthy celestial nymphs adorning Dharma halls are found: on the altar of the Main Buddha Hall at Beomeosa Temple in Busan; on the ceiling of the Main Buddha Hall at Yongjusa Temple in Hwaseong; and those emerging from the ceiling of the Main Buddha Hall of Songgwangsa Temple in Wanju. In the Main Buddha Hall of Yongjusa, celestial nymphs are depicted flying through the air.

Celestial nymphs on the canopy of the Main Buddha Hall at Yongjusa Temple in Hwaseong. With one leg bent back and the other stretched out, two nymphs fly over the heads of Buddha statues, their robes fluttering.

A celestial nymph, adorning the canopy of the Pure Land Hall at Hwa-amsa Temple in Wanju,
flies in dynamic fashion holding a flower in her hand. 

On the ceiling, two celestial nymphs are depicted flying over the heads of Buddha statues and surrounded by flying phoenixes and floating wish fulfilling-gems, symbols of auspicious energy. With one leg bent back and the other stretched out, their postures suggest movement while their robes and arm bands flying upward evoke dramatically the sense of flight. The luxurious flowers adorning their robes and arm bands symbolize devout faith to the Buddha. The whole scene depicts an aesthetically beautiful fantasy or dream. 

The celestial nymphs on the Main Buddha Hall of Yongjusa Temple, though small in size, exude magical power that draws onlookers into the Buddha realm. The stone lantern in front of Ven. Na-ong’s (aka Boje Jonja) stupa at Silleuksa Temple in Yeoju features outstanding bas-relief images of celestial nymphs. On each plane of the octagonal lantern chamber, carved from agalmatolite, an arch-shaped window is cut, and the rest of the plane features elaborate inscription of celestial nymphs and dragons. The face of one celestial nymph holding a lotus bud is damaged, but her graceful body and softly fluttering robes make it easy to imagine her in flight. Her voluptuous body entwined in thin, soft cloth is captivating to the point that we can almost feel her bodily warmth. 

Other noteworthy depictions of celestial nymphs are: those inscribed under the roofstone of National Preceptor Hongbeop’s stupa, retrieved from the Jeongtosa Temple Ruins and now displayed in the National Museum of Korea; Seon Master Cheolgam’s stupa at Ssangbongsa Temple in Hwasun; a monk’s stupa at Godalsa Temple Ruins in Yeoju; the Three-Story Pagoda at Jinjeonsa Temple Ruins in Yangyang. When we see depictions of a celestial nymph, we should look beyond their physical form. With knowledge of their significance, you might feel their free and joyful movements as well as listen to their sublime music resounding through the universe. You might even visualize a scene from the Pure Land with celestial nymphs flying about. Wherever featured in a temple compound, celestial nymphs symbolize our veneration and exultation to the Buddha and the Pure Land.

Celestial Music in Praise of Buddhas’ Merits Instruments Played by Celestial Nymphs

The music played by celestial nymphs expresses the profound joy of Dharma, and the deep sound of liberation that transcends this mundane life confined in a physical body. Playing various wind or string instruments, they lead us to the world of nirvana.

Music has always been closely related to Buddhism as it can effectively praise, adorn and present offerings to the Buddha. Many Buddhist scriptures, including the Lotus Sutra, often feature musical gods like kinnaras and gandharvas, as well as performances of celestial music and music to entertain. However, in principle, temples prohibit music intended to entertain. This includes all music that does not guide one to higher realms of thought; including dancing and singing, as well as gongs and drums. 

The Buddha said, “Singing is not allowed except on two occasions. One is to praise the virtues of great monks and the other is to chant the Impermanence Sutra.” In this way the Buddha warned against music for the sake of one’s enjoyment. A monastic’s foremost task is to cultivate themselves physically and mentally in order to attain enlightenment and to edify sentient beings. “Enchanting music” is an obstacle to Buddhist practice. 

The reason the Buddha allows offerings of music but prohibits singing and dancing is because he has great compassion for people, and those who offer music to the Buddha receive blessings according to their wishes. By integrating passages from various sutras, we can conclude that any singing and dancing should be for the sake of Buddhism’s Three Jewels, and meant to praise the Buddha. Playing music to glorify the Buddha is to achieve great merit and a way to attain the path to Buddhahood.

Instruments for Offerings of Sound 

Celestial nymphs praise the Buddha, play celestial music, sprinkle fragrant flowers and reside in the heavenly realm of abundant joy. That’s why Buddhists believe they can instantly reach the Pure Land of the Buddha if they can even grasp the hem of their fluttering robes. A bipa (a kind of lute) is the instrument most often held by celestial nymphs. Most of the instruments they hold are ancient musical instruments from central Asia. Each nymph seems to be playing alone, but in actuality they are all playing together as an ensemble to express the joy of Dharma. They play blissful music of the Buddhist paradise as described in the scriptures of the Pure Land tradition. 

Of the four heavenly kings that protect temples,
the one in charge of the north holds a bipa (a kind of lute) in his hand.

If you have no idea of what a bipa is, think about the four heavenly kings enshrined in the Gate of Heavenly Kings. One of them is holding a bipa in his hand. Why does this king, the one who protects the BuddhaDharma, holds bipa instead of a sword, arrow, spear or vajra? It is because the bipa enjoyed great popularity in ancient central Asia, where most people lived a nomadic lifestyle and rode horses. As a bipa could be played while riding horseback, many warriors played them. That’s probably why that one king, clad in warrior attire, is holding a bipa. Some noteworthy celestial nymphs playing a bipa are depicted on the pillars of the Main Buddha Hall at Beomeosa Temple in Busan, and on the ceiling of the Main Buddha Hall at Jangnyuksa Temple in Yeongdeok. 

Flute-playing celestial nymphs are inscribed
on the main altar at Gwallyongsa Temple in Changnyeong.

Other instruments used to make offerings of music are the piri (a kind of flute), haegeum (a string instrument resembling a fiddle), janggu (hourglass-shaped drum), saenghwang and bara (spherical hand drum). Most of these are depicted in the Main Buddha Hall of Naesosa Temple in Buan. Every instrument depicted on the ceiling has fluttering robes dangling from it. Beautiful celestial nymphs are also inscribed on the main altar of Gwallyongsa Temple in Changnyeong.

Celestial Nymphs Playing Instruments and Dancing 

Buddhism says we can attain Buddhahood by praising and presenting offerings to the Buddha. In Buddhist art, offerings of music are done by either celestial nymphs or ordinary musicians dancing and playing music. Most human musicians have either the features of heavenly beings or bodhisattvas with haloes, or ordinary people in colorful attire and round hats. Celestial nymphs playing instruments are often depicted on the ceilings of Buddha halls, on pagodas enshrined with Buddha’s cremains, on sarira utensils, and on the platform of an eminent monk’s stupa. 

The nymphs on the ceiling of the Main Buddha Hall at Songgwangsa Temple in Wanju are featured in various scenes playing instruments or dancing. Also seen are traditional Korean elements such as some dance movements in the style of the mask dance and in a woman playing the daegeum (a kind of flute) and wearing a shaman’s hat decorated with a feather. At Silleuksa Temple in Jecheon two symmetrically positioned celestial nymphs are depicted, a style hinting at Chinese influence. 

The stupa for Jijeung Daesa at Bongamsa Temple in Mungyeong features celestial nymphs kneeling with joined palms, as well as others playing various instruments. Some outstanding depictions of celestial nymphs inscribed on stone pagodas include: instrument-playing nymphs on the three-story stone pagoda at Baekjangam Hermitage (affiliated with Silsangsa Temple in Namwon) and the Four-Lion-Three-Story Stone Pagoda at Hwaeomsa Temple. The celestial nymphs inscribed on the base of the Four-Lion-Three-Story Stone Pagoda at Hwaeomsa Temple are meant to offer praise to the Buddha’s sarira which are enshrined within. As can be seen, celestial nymphs play various instruments, dance and sing to praise the Buddha and present offerings of music to the Buddha realm.