청담대종사의 「금강경」 이해 - 함허의 『금강경오가해설의』와의 비교적 관점에서 -

김방룡 ( Bang Ryong Kim ) 경상국립대학교 청담사상연구소 2007 마음思想 Vol.5 No.0

청담 대종사의 사상은 ‘마음’을 중심으로 하여 불교의 핵심교리에 대한 전통적인 해석과 더불어 현대적인 해석을 꾀하고 있는 것이 특징이다. 이제는 한국 불교의 전통과 현대를 잇고 있는 청담 사상에 대한 구체적이고 미시적인 분석이 필요하다. 『금강경』은 반야 공사상을 깨침의 내용으로 보여주는데, 중국 남종선에서 가장 중시한 경전이다. 현재 대한 불교 조계종에서도 『육조단경』과 『금강경』을 가장 중시하고 있다. 한국 불교의 역사 속에서 『금강경』의 학습서로서 가장 권위 있는 저술이 함허의 『금강경오가해설의』이다. 또한 현재 국내에서 출간된 150여종의 『금강경』관련 해설서 중에서 청담 스님의 『금강경』이해의 독자적 특징도 주목해야 할 내용이다. 본 연구의 과제는 바로 청담의 『금강경』이해의 특징과 현대적 의의를 밝히기 위하여 함허의 『금강경오가해설의』와 비교하는 것이다. 이 연구 이후 청담의 『반야심경』이해 연구, 청담의 『신심명』이해 연구 등을 진행해 갈 수 있을 것이다. 청담 사상에 대한 이러한 연구를 진행해 가면 ‘청담학’ 형성에 좀 더 다가갈 수 있을 것이다. The master Cheongdam's thought is characterized by 'Mind', the core doctrine of Buddhism and his modern explanation with the traditional explanation on it. Now we have to concretely analyze his thought connecting modern Buddhism with traditional Buddhism. 『Diamond Sutra』 shows sunyata, central notion of Buddhism, as contents of enlightenment. For the Southern Zen Sect in China, the importance of 『Diamond Sutra』 cannot be overemphasized. Korean Buddhist Chogye Order also take a serious view of the scripture. In the history of Korean Buddhism, the master Hamheo's 『The Explanation of the Five Masters' Understanding Diamond Sutra』 has the highest authority among study books on 『Diamond Sutra』. It is important to note the master Cheongdam's Understanding 『Diamond Sutra』 among commentary books estimated at one hundred and fifty. We have to consider the characteristics of his understanding the scripture. This paper is intented as an investigation of the master Cheongdam's understanding 『Diamond Sutra』 from the comparative viewpoint with the master Hamheo's 『The Explanation of the Five Masters' Understanding Diamond Sutra』. What I wish to show in this paper is to make clear the characteristics and modern significance of Cheongdam's understanding 『Diamond Sutra』. Having observed it, we will able to go on to study his understanding other scriptures, 『Heart Sutra』, 『The Faith-Mind Maxim』. If we go on to write these kinds of papers on Cheongdam's thought, we would be a step closer to establishing his studies.

守國寺 木造阿彌陀佛坐像의 腹藏典籍 硏究

송일기 한국서지학회 2014 서지학연구 Vol.58 No.-

This study contemplated the bibliographic characteristic and the literary character of the votive manuscripts and printed books stored in the wooden seated statue of Amitabha in the main sanctuary of Suguksa temple located in Eunpyeong-gu, Seoul Metropolitan City. There were 24 different Buddhism manuscripts/printed books and 20 books of dharani in the statue at the Suguksa temple. The Buddhism manuscripts and printed books include 7 books of Goryeo edition, 11 books of Joseon edition and 6 books of Yuan Boryeongjang edition. Most of them have been historically proven that they are the sole editions and they are introduced to us for the first time. This study found that the votive manuscripts and printed books at Suguksa had been dedicated in 1239 when the statue was enshrined and during the two major repairs in 1388 and 1562. In addition, the relationship between the manuscripts/printed books and the enshrinement background of the statue draws attention; because most of them are printed edition dharani and Esoteric Buddhism scripture. Among the votive manuscripts and printed books, the temple-published Avatamska Sutra, Esoteric Buddhism scripture and Jeongchuk-type edition Geumganggyeong Ogahae(金剛經五家解) draw the attention of scholars.

동아시아의 구음 라라리(라라리)와 라리련(라리련)의 한국적 존재 양상

전경욱 ( Jeon Kyung Wook ) 고려대학교 민족문화연구원 2014 민족문화연구 Vol.64 No.-

The oral sounds of “Lalari(라라리)” and “Lariryun(라리련)” appear universally in three countries: Korea, China and Japan. “Roryulolu(魯流盧樓)” of the Sutra of Nirvana(涅槃經), was later passed on through Sildamjang(悉曇章) in the field of Buddhism with the sounds of “Lalari Rilala” and “Ririla Larila” as the center. Ririla Larila is the derivative form of Lalari Rilala. However, in drama works of the South Song era such as the “Southern Plays(南戱),” at first, oral sounds were passed on through Lalari Rilala and the derivative form Ririla Larila. Then gradually the sounds were used with a mixture of Lariryun and derived sounds such as “Rilaryun Ryunriryun.” The poems of Buddhist monks from the late Tang era and Song era, along withthe Buddhist books The Five Monks` Annotation of Diamond Sutra(金剛經五家解) and Sunmunyeomsong(禪門拈頌), uniformly show only the sounds of Lalari Rilala and the alternant Ririla Larila, but not the oral sounds of Lariryun or its derived form Riryunla Ryunriryun. However, drama works from Southern Plays of the South Song era to plays fro m the Ming and Qing eras introduced in the papers of Chinese scholars are all of a later period compared to Lalari, which is sung in the poems and quotations of Song era Buddhist monks. Thus we can see that Lalari Ririla and Rilari Lariryun th at appear in drama works from Southern Plays of the South Song era to the Ming and Qing eras all come from the Buddhist oral sounds of Lalari and Rilala. Lariryu n was mainly used as the “God of Drama” incantation of the Southern Plays and puppet shows. This can be seen in the Southern Play Uihwanghyunheeshincheongwons -amyoki(宜黃縣戱神淸源師廟記) written by Xianzu Tang and Oryunjeonbichoonghyoki( 伍倫全備忠孝記) by Jun Qiu, along with plays and puppet shows that are curren tly passed down in Fujiansheng. In this manuscript, focusing on the fact that these oral sounds are also found in various fields (Buddhist publications such as The Five Monks` Annotation of Diamond Sutra, Sunmunyeomsong from Goryeo and Joseon, poems and quotations of Buddhist monks from Goryeo and Joseon, poems and publications of literary men from Goryeo and Joseon, Goryeo folk songs, Korean annotations, novels, folk songs and puppet shows of Joseon), I look into the existing aspects of these oral sounds in Korea.

청한(淸寒) 설잠(雪岑)의 『조동오위요해(曹洞五位要解)』 연구

전준모 ( Jun Joon-mo ) 한국불교사학회 한국불교사연구소 2021 한국불교사연구 Vol.19 No.-

Cheonghan Seoljam was a promising Confucian scholar in his childhood, but after the dethronement of King Danjong, he changed to a Buddhist monk and lived as a Buddhist monk for the rest of his life. He left several works throughout his life, including “Jo-dong-Oui-yo-hae”, which is considered to contain the purification of his ideas. The idea of Jo-dong-Oui is a collection of images of Dongsan Yang-gae and his disciples, Jo San. The five aspects of Seonjong’s performance and practice were viewed in five aspects. Seoljam writes “Jodong Ouiyohae” with a commentary on this, which reveals the following characteristics. First, the theory of Seoljam’s annotation first divides the clauses appropriately and focuses on understanding the meaning of words and phrases to the extent that they seem to be detailed. Later, the original text adds a corresponding figurative first pitch. This can be said to be both pedagogically precise analysis and shipping symbolic approaches, which are similar to the writing of the “The views of five people on The Diamond Sutra” demonstrated by Ham Deuk-Tong Above all, I think it had some influence on Seol-jam because the period of correction and reversal of the commentary was similar to the time when Seol-jam had just left. In addition, it is assumed that he was influenced by similar vaporization from Yuja to Bulja, a generation ahead of Seoljam. Second, Seoljam is thought to have taken the idea of Jo Dong-ohi as a purification of his thoughts for later years and added “yo Hae”. This is because Jo Dong-ohi is explaining the truth of the middle course, which is not biased toward either the world of truth or reality. Jo Dong-jong’s end, which focuses more on reality, is thought to have been attractive to Seol-jam. His aspect of emphasizing the real world is also revealed through the journey of life he has shown throughout his life. As Seol-jam’s life and thoughts were multifaceted, there was also a heated debate over whether Seol-jam’s ideas were Confucian or Buddhist centers. Among the various arguments, the argument to be regarded as a Confucian monotheism and the argument to be considered as a prepaid reality participant are considered persuasive among them. To sum up, Seol-jam’s attempt to reveal the end of Jo Dong-sun through “Jodong Ouiyohae” was the key, and in the meantime, it is thought that he hinted at the monolithic view of Confucianism. However, what he wanted to show through the repentance of Buddhism and Confucianism is not the superiority of either side, but rather the intellectual figure who wants to stay out of the spirit of the times.

〈구운몽〉에서 구름의 의미와 주제

이강옥(Lee Kang-Ok) 국어국문학회 2009 국어국문학 Vol.- No.151

Kim Manjoong used the cloud imagery in his poetry and essays to make concrete his yearning for someone and something. The cloud in Kuwoonmong is very similar to that of his poetry. However there also exist distinctively different imagery of cloud. The cloud in Kuwoonmong symbolizes non-beings that come into being through longing and thinking, while the cloud in the poetry represents the longing for the already existing world. This reveals a very meaningful difference between his poetry and Kuwoonmong. The process of creating Kuwoonmong involves the elements that didn't exist in the process of creating his poetry. I would argue that the rhetoric of clouds in Kumkangkeoung left strong impact on Kuwoonmong. So to understand theme of Kuwoonmong, we have to consider the teaching of Kumkangkeoung. The cloud images of Kumkangkeoung represent the misled and fantastic thought. As the cloud covers the light of the moon, the misled thought covers the sincere being. In conclusion, the 'cloud' in the title of 'Kuwoonmong' means the misled thought and the fictitious world which was made by thought.