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.
