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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.
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《해동유요(海東遺謠)》에 나타난 19세기 말 20세기 초 시가(詩歌) 수용 태도 고찰 -노래에서 시문학으로의 시가 향유를 중심으로-
정소연 ( Chung So-yeon ) 한국고전문학교육학회 2016 고전문학과 교육 Vol.32 No.-
This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry’s literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.
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김선기(Kim, Sun-kee) 한국언어문학회 2012 한국언어문학 Vol.83 No.-
Cheontaek Kim and Sujang Kim were in a senior-junior relationship, walking the same path during a similar period in the Korean sijo (three-verse Korean poem) literature history. Cheontaek Kim published ‘Cheong-Gu-Young-Ean’by compiling his sijos and passed-down sijos in 1728. From his own works, he carefully selected and included 30 sijos that intensively show his life. Sujang Kim carefully selected already existing sijos and his own sijos, and published a collection of sijos called ‘Hae-Dong-Ga-Yo’ over two times. In ‘Hae-Bak’ in 1755, he assigned a certain number of works of each artist to be included, however, in 1767 in ‘Hae-Ju’, he did not put limits on the number of works to include. Sujang Kim exhibited his desire to exceed the achievements of Cheontaek Kim by publishing ‘Hae-Ju’. As a result of deleting unnecessary partsfrom Cheontaek Kim’s works in ‘Cheong-Gu-Young-Ean’ and publishing such works in ‘Hae-Ju’, 16 sijos were exchanged to new sijos, and Sujang Kim did not hesitate on criticizing Cheontaek Kim’s sijos. In addition, Sujang Kim showed confidence by including 117 of his own sijosin ‘Hae-Ju’, which is a significantly higher number than the 57 sijos of Cheontaek Kim. In addition, by drastically revising Cheontaek Kim’s sijos when accepting the works, he expected to lower Cheontaek Kim’s status while enhancing hi sown. Sujang Kim’s insight in selecting sijos shown when selecting Choentaek Kim’s sijos receive a positive response from compilers, as shown by the frequency of citation in future poet compilations. However, including a significantly higher number of one’s own works in a book published by oneself while arbitrarily fixing another’s works fitting to one’s own taste will not be able to evade the criticism that such act was an excessive overstep of one’s authority.
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