생전예수재의 현장론적 이해와 의례의 축제성

곽성영(승범) 동방문화대학원대학교 2017 국내박사

The greatest idea of Korean Buddhism is Mahayana Buddhism. The characteristic of Mahayana Buddhism can be said to implement the idea of Bodhisattva through Jariitahaeng (the principle of benefiting both oneself and others) and Mahayana Buddhism was also introduced from China to Korea and has formed the basis of Korean Buddhism for 1,700 years and greatly influenced Korean Buddhism in general. As a result, Amitābha Faith, Avalokiteśvara Faith, Ksitigarbhah Faith and Maitreya Faith were established as representative religions in Korean Buddhism, continuing until now. And rituals and ceremonies of Korean Buddhism are made around the form of combining Pure Land Faith and Esoteric Buddhism Ritual and Huayuan Faith and Beobhwa Faith were added and the complex nature of mountain spirit worship faith which is a folk religion, Chilseong Faith and Taoist faith is revealed. With the acceptance of Buddhism in Silla, Buddhism, which was introduced in the Three Kingdoms era, began with 'Palkwanhoe' and 'Yeondeunghoe’ in the background of Pure Land Faith and the Korean characteristics of the fatherland defence Buddhism. This can be said to be the beginning of large scale Buddhist ceremonies and festival elements of Buddhism. As Korean Buddhism was inherited to Goryeo through the Three Kingdoms period and the Unified Silla, national Buddhism accreditation has the soil that is inevitable to develop in the ideological and religious aspects. Therefore, Buddhist rituals also have developmental forms of rituals such as ‘Sooryukjae’, ‘Youngsanjae’ and ‘Saengjeonyesujae’. According to the records of『Samgukyusa』,『Samguksaki』,『History of Goryeo』,『Annals of the Joseon Dynasty』, the development of these rituals is bound to be accompanied by the development of the ideological faith and especially Pure Land of Amitābha thought is the representative faith of ancestral rites and Avalokiteśvara Faith and Ksitigarbha List Faith were developed together. And despite the political ideology of the Buddhism oppression policy in the early years of the Joseon Dynasty, the various Buddhist practices centering on the royal family have evolved into various beliefs of Buddhism and these beliefs have played a major role in supporting the lives of the people since the mid Joseon Dynasty. In particular, Pure Land Faith has created a variety of Pure Land ideologies based on the wish to overcome the life of the hard-hearted people and human’s fear of afterlife through the faith of Buddhism. As a result, a ceremony named ‘Saengjeonyesujae’ was born based on Ksitigarbha List Faith and Avalokiteśvara Faith from the perspective of Pure Land. Unlike ‘Youngsanjae’ wishing for Yongsanhoesang of Sakyamuni Buddha or ‘Sooryukjae’ saving all forlorn wandering spirits of water and land, ‘Saengjeonyesujae’ is a ritual for living people. Youngsanjae is based on Sakyamuni Buddha’s Lotus Sutra Philosophy and Sooryukjae is the expression of Pure Land Philosophy based on the salvation of Amitabha. Based on the above two ideologies, however, ‘Ksitigarbha List Ten-king thought’ is added here in ‘Saengjeonyesujae’. Therefore, it is no wonder that the content of the ideological and religious aspects of Saengjeonyesujae is more numerous and diverse than that of Youngsanjae or Sooryukjae. The source of Saengjeonyesujae is the mind which is fearful of post-judgment and was called Buddhism with Korean’s view of death by spreading the value of morality in the society while examining sins during the life and is a ritual that gives an answer and a relief to the question of the death of the old people and the purpose of the ritual is ‘anyone has come from past life and everyone is born with debt owing to the sin of past life and therefore, they mutt pay back debts for the sins of past lives’ by six-realm samsara according to ‘karma’, the central idea of Buddhism. In addition, due to the regional diverse cultures, the composition and procedures of Saengjeonyesujae are also slightly different from the sectarian and regional differences. ‘Jogyesa Temple’ of Jogye Order of Korean Buddhism with a slogan of the recovery of original form of Yesujae has a two-day rigual configuration and ‘Bongwonsa Temple’ and ‘Guinsa Temple’ proceeds in one-day ritual configuration due to the influence of Gyeongje Beompae Ritual. And ‘Jagyaksan Mountain Saengjeonyesujae’ in Miryang with 24-hour ritual configuration is evaluated to relatively preserve the original form. The main feature of Saengjeonyesujae is that the general public who participated in the ceremony is the main character because it is a ritual for a living person. Therefore, the public’s participation in the ritual is higher than Youngsanjae or Sooryukjae. Therefore, Saengjeonyesujae can be said to be a Buddhist ritual with much festivity and has the festive nature because the public is the main character and each I participates in the ritual as a subject. The festivity of Saengjeonyesujae expresses the desire to escape by relying on the power of the Buddha and the sages from the framework of ‘karma and six-realm samsara’, the fundamental ideas of Buddhism. The act is necessarily accompanied by 'bo', a result and the act is an act of the past. That is why we cannot help but create good deeds or sins of the past. Especially a sin is an act to pay off. The sins of the present life can pay off for the object, but the sin of the past life has no subject. In Buddhism, this leads to the good deeds of present life ideologically and the concept of debt of the past life is introduced faithfully, creating a ritual where people pay off this debt with the power of the Buddha and ten kings in the list to overcome the fear after death and make it a place of festival. This Saengjeonyesujae allows people to rotate the temple and tower where there is the Buddha by setting Geumeunjeon to pay off the debt of their past life on the head and possessing ‘Hamhapso’, the certificate and the act of promising the comfort after death through the power of Buddhism and the means of movement such as sedan chair and Banya-Yongsun will make them believe that death is no longer a dread. It also makes Saengjeonyesujae a venue of festival with elements of dance and song through Hwacheong. It has an important role in bringing about awareness changes that can sublimate into the field of festivals to the public with prejudice that dancing and singing in a temple that protects Buddhism is a disgrace to the Buddha. Saengjeonyesujae can be said to promote religious thought and faith, and to be a reminder that it is an excellent folk culture. 한국불교는 대승불교를 표방한다. 대승불교의 특징은 자리이타행(自利利他行)을 통하여 보살(Bodhisattva)사상을 구현한다는 데 있다. 대승불교는 중국에서 한국으로 전래되어 천칠백여년 동안 한국불교의 근간을 이루었으며, 한국적 불교의 전반에 지대한 영향을 주었다. 그 결과 한국불교는 미타신앙, 관음신앙, 지장신앙, 미륵신앙 등이 대표적 신앙으로 자리를 잡아 지금까지 이어져오고 있다. 한편 한국불교의 의례와 의식은 대체로 정토신앙과 밀교의식이 결합된 형태로 이루어지고 있으며, 화엄신앙과 법화신앙이 포함되어 있다. 또한 토속신앙인 산악숭배신앙과 칠성신앙, 그리고 도교적인 신앙 등도 포함된 복합적인 성격을 띠고 있다. 삼국시대 불교의 전래와 함께 시작된 의례는 정토신앙의 바탕과 호국불교라는 한국적 특징 속에서‘팔관회(八關會)’와 ‘연등회(燃燈會)’를 시작으로 본격화되었다. 이 두 사례는 불교의례가 가지는 축제적 요소와 대규모의 불교의식의 시작을 알리는 것이었다. 고려시대 국가불교의 전개는 한민족의 사상과 신앙, 문화 전반에 걸쳐 지대한 영향을 주었다. 이에 따라 불교의식에서도 ‘수륙재’와 ‘영산재’ 그리고 ‘생전예수재’등이 번성할 수 있는 토대가 마련되었다. 이러한 재의식이 바탕에는 미타정토사상을 대표로 다양한 신앙과 사상이 깔려 있다. 즉 관음신앙과 지장명부신앙이 결합된 다양한 의식관련 기록이『삼국유사』,『삼국사기』,『고려사』,『조선왕조실록』 등에 나타난다. 조선초기 억불정책의 정치이념에도 불구하고 불교는 왕실 중심으로 다양한 신행활동이 전개되었고, 일반 민중에 이르기까지 불교는 민족의 전통과 신앙으로 자리매김하였다. 특히 정토신앙은 고단한 민중들의 삶과 인간의 사후세계의 두려움을 불교의 신앙을 통해 극복하고자 하는 바람으로 크게 각광받았다. 생전예수재가 탄생할 수 있었던 배경에는 이러한 정토적 관점의 관음신앙과 지장명부신앙이 있었던 것이다. 영산재는 석가모니 부처님의 영산회상을 찬탄하고, 수륙재는 일체의 물과 육지의 무주고혼을 구원하기 위한 의식이다. 생전예수재는 이와 달리 산사람이 주체가 되는 생전 의식이다. 영산재는 석가모니불의 법화사상을 기본으로 하고 수륙재는 아미타불의 구원을 기본으로 하는 정토사상이다. 그러나 생전예수재는 위의 두 사상에 그치지 않고, 여기에 지장명부시왕 사상이 더해진다. 그러므로 생전예수재의 사상적 깊이와 신앙적 다양성은 영산재나 수륙재 보다 많고 풍성할 수 밖에 없다. 생전예수재는 ‘업(業)’사상을 바탕으로 한다. 행위에는 반드시 ‘업보(業報)’ 라는 결과가 따른다는 것이다. 업은 과거의 행위이기 때문에 모든 중생은 선업(善業)이든 죄업(罪業)이든 만들 수밖에 없다. 특히 죄업은 갚아야 할 행위이다. 현생의 죄업은 대상이 있어 갚을 수 있지만, 전생의 죄업은 대상이 없어 갚을 방법이 없다. 불교에서는 이러한 논리로 현생의 선업을 유도한다. 구체적으로는 전생 빚이라는 개념을 도입하여 부처님과 명부시왕의 위신력에 의지하도록 한다. 생전예수재를 통해 이 빚을 갚음으로써, 사후의 두려움을 이겨내는 축제의 의식으로 만들어 가는 것이다. 생전예수재는 지역과 사찰에 따라 짧게는 3~4시간, 길게는 24시간 등 설행 시간이 다양하다. 전통사회에서는 며칠씩 진행하는 경우가 다반사였다. 그러나 현대인들에게 긴 시간의 근엄한 종교의식은 지루할 수밖에 없다. 생전예수재의 구심점은 신도들이므로 이들이 흥미와 재미를 얻을 수 있어야 한다. 재가 엄격한 재로 그치치 않고, 하나의 잔치, 축제가 되어야 하는 이유가 여기에 있다. 축제에는 음악이 있고, 노래가 있으며, 춤이 있다. 영산재나 수륙재와는 달리 생전예수재는, 특히 경상도 지역에서는 이러한 요소를 잘 포함하고 있다. 생전예수재의 구성과 절차에서는 종파와 지역에 따라 조금씩 차이가 있다. 예수재의 원형복원의 기치를 내건 대한불교조계종 조계사의 경우 2일 형태의 의식구성이며, 봉원사와 구인사는 경제범패의식의 영향으로 1일 형태의 의식구성이다. 그리고 밀양의 작약산 생전예수재는 24시간 진행하는 의식구성으로 비교적 원형을 잘 보존하고 있다고 평가한다. 생전예수재는 살아있는 사람을 위한 의식이기 때문에 의례에 참여한 일반 대중들이 주인공이라는 특징을 지닌다. 그러므로 대중들의 의식 참여가 영산재나 수륙재보다 높다. 대중들이 주인공이기에 각각의 나(我)가 주체가 되어 의식에 참여하기 때문에 축제적 성격을 띠게 된다. 불교의 기본 사상은 수행을 통해 ‘업(業 Karma),’이라는 행위로 인한 결과인 ‘보(報)’에 따른 육도윤회(六道輪廻)를 벗어나는 것이다. 업이란 과거의 행위에서 비롯되는데 그 결과를 받아야 한다는 것을 뜻한다. 사람은 무수한 죄업을 짓는다. 우리는 그것을 알든 모르든 이루어지고 있으며, ‘보(報)’에 따라 윤회를 하는 것이다. 이러한 업사상과 명부시왕사상의 결합으로 전생 빚이라는 것이 생겨났다. 이 빚을 갚음으로서 전생의 죄업을 조금이라도 씻고자 하는 중생들의 열망은 사후의 두려움에서 벗어나고자하는 신앙적 기원이기도 하다. 자신의 전생 빚을 갚을 금은전을 머리에 이고 그 증서인 ‘함합소’를 소지한 채, 도량과 탑을 즐거운 마음으로 행진한다. 이렇게 함으로써 가마와 반야용선을 타고 사후의 극락세계에 이를 것을 약속받는 행위는 더 이상 죽음을 두려운 대상으로 여기지 않고, 삶의 자연스런 과정일 뿐이라는 믿음을 불러 일으키게 한다. 여기서 그치지 않고 생전예수재는 화청과 춤을 곁들여 도량을 축제의 장으로 만든다는 점이 중요하다. 불법을 수호하는 법당에서의 춤과 노래는 부처님에 대한 불경(不敬)이라는 선입관을 가진 대중들에게 축제의 장으로 승화할 수 있다는 인식변화를 가지게 하는 중요한 계기가 된다. 이와 같이 생전예수재는 종교적인 사상과 신앙심을 고취시킬 뿐만 아니라 우리 민족의 귀중한 민속 문화임을 이해할 수 있었다.

조선시대 감로탱 도상에 나타난 작법무 형태 연구

곽성영(승범) 동국대학교 2013 국내석사

Korea Buddhism has influenced over full range of politics, culture and thought. Artistic matters including architecture, music, arts and sculpture are nothing more than a slice, and there are numerous pieces of Buddhist culture that are not perceived over the whole society. Buddhist paintings of those include a lot of things and Gamrotaenghwa is a very artistic work appears only in the Joseon Dynasty. The value of thought, music, dance, customs, costume and arts that are inherent in Gamrotaenghwa is immeasurable. As such, Gamrotaenghwa is regarded as representing the characteristics of Korean Buddhism the best. This study referred, as 1st research source of Gamrotaenghwa in Joseon Dynasty, to 『Gamro』 published by Tongdosa Seongbo Museum and 『Gamrotaeng』 by Gang Ubang and Kim Seunghui. In particular, total of 45 paintings are collected in these two sources from the Gamrotaenghwa in Yakseonsa temple in 1589 that is now collected in the Nara museum in Japan to the Gamrotaenghwa in Heungcheonsa temple in seoul in 1939. Out of those, Gamrotaenghwa with the Jakbeop ceremony are up to 45. The object of this research was 45 paintings including the Gamrotaenghwa collected an individual produced in 1580 and 44 Gamrotaenghwas except for the Gamrotaenghwa in Anguksa temple produced in 1758 that is too blurred to analyze. Analysis is carried out respectively by age. The composition and arrangement of musical instruments by age and various forms of Buddhist dance is analyzed. Followings are the types of Buddhist dance. First, as for Baramu Dance, 44 pieces are Jakbeopmu dance out of which 6 pieces are in 1-person form, 34 pieces are in 2-person form, 3 pieces are in 3-person form and a piece is in 4-person form. Concerning the 1-person form, the Bara of Gamrotaenghwa in Kyungpook National University and that in Uhak Culture Foundation doesn't seem a dance but accompaniment pattern. It is also found that all the Gamrotaenghwas take almost the same form in Baramu Dance motion. It suggests that Baramu Dance in simple motion was danced in all areas. Second, Beopgomu Dance appears in all the Gamrotaenghwa with ceremony sfter Yakseonsa temple Gamrotaenghwa in Japan. However it is the Gamrotaenghwa collected at Korea University and estimated to be produced in late 1700s that it took an exact look of dance. The figure shows knees bent and a foot lifted. From this time, the dancing line of Beopgomu Dance appeared. But it is not until the Heungguksa temple Gamrotaenghwa of Mt. Surak in 1868 that the complete figure of Beopgomu Dance appeared considering the look of arms, legs and the eyes. As for the features of Beopgo in Gamrotaenghwa, it takes an accompaniment pattern when the Beopgo is small or players' eyes head for the front of Beopgo, while in case of the Gamrotaenghwa with the dancing line of Beopgomu Dance, the big Beopgo and player don't head for Beopgo, but look at it by 90°. Today, the Gamrotaenghwa that has the look most similar to Beopgomu Dance is the Beopgomu of Gamrotaenghwa in Heungguksa temple. Third, Gwangsoemu Dance, of which the production year is not known but seems to be made at the end of 17th century or at the early 18th century, appear for the first time in the Gamrotaenghwa collected by Korea University. In this work, the spatial distribution of each of the Buddhist rituals showed up, and it seems that the spatial style like today's ceremony was applied after the middle of 18th century. The Gwangsoemu Dance seems to appear under the influence of the utility value of wide space. The Gwangsoemu Dance appeared in the Gamrotaenghwa of Korea University and in the Gamrotaenghwa of Cheonryeon temple in 1916. Mostly, it is style appearing from the Gamrotaenghwas in Seoul and Gyeonggi province. Fourth, the origin of Nabimu Dance is unknown with no record of literature. It first appeared on the Tongdosa temple Gamrotaenghwa produced in 1900, and the exact shape of Nabimu Dance had not appeared until the Gamrotaenghwa in Tongdosa temple Samyeongam in 1920 and the Gamrotaenghwa in Seoul Heungcheonsa temple in 1939 appeared. The shape of Nabimu Dance is also seen in the Gamrotaenghwa in Mt. Goryeo Wontongam in 1907. However, considering that the Gwangsoemu Dance in 19th century style still appears, in the similar period as Tongdosa Gamrotaenghwa, in the Gamrotaenghwas in Cheongryongsa temple and Baekryeonsa temple of Mt. Samgak in Seoul, the Sinreuksa temple Gamrotaenghwa in Yeoju, Gyeonggi-do and the Daeheungsa temple Gamrotaenghwa in Haenam, Jeollanam-do, it seems that Jakbeopmu dance, in which Gwangsoemu Dance and Nabimu Dance are mixed, was performed until the early 1900s. Concerning the Tongdosa Gamrotaenghwa in which the Nabimu Dance first appears, it seems that the Nabimu Dance first appeared in Yeongnam area centering around Tongdosa temple in the late 1800s and spreaded out to the nation. However, more review and research of the appearance of Nabimu Dance should be conducetd. Fifth, as for the costume of the Nabimu Dance, it is succeeded from that in the Tongdosa Gamrotaenghwa to the shape in Yuksugasa today. There is a clear distinction between costumes in Gwangsoemu Dance and the Nabimu Dance, suggesting that the costume must have been changed together with the dance in the process of change from Gwangsoemu Dance to Nabimu Dance. The composition and organization of musical instruments in Buddhist rituals are as follows. First, the most frequently organized instruments since the Yakseonsa temple Gamrotaenghwa in Japan in 1589 are Yoryeong, Gyeongja, Gwangsoe, Bara and Beopgo. Except for Gyeongja, these are the instruments most frequently used in Buddhist ritual as Buddhist Samul. Second, out of the flow of the composition of musical instruments, Nagak had almost ever appeared since the Yakseonsa temple Gamrotaenghwa in Japan in 1589 until Sinheung temple Gamrotaenghwa in 1768, but after that, it was excluded from the composition of musical instruments except for the Hogukjijangsa temple Gamrotaenghwa in 1893. Third, Nabal has been organized since the Bongseoam Gamrotaenghwa in 1759. Fourth, Taepyeongso was organized in the Baekcheonsa Undaeam Gamrotaenghwa in 1801, and has not changed since then. Fifth, Taejing was organized in the Heungguksa temple Gamrotaenghwa of Mt. Surak in 1868, and has not changed since then. Lastly, Janogu was organized in the Bongseoam Gamrotaenghwa in 1759 and in the Baekcheonsa Undaeam Gamrotaenghwa in 1801, and has not appeared in any other Gamrotaenghwa since then. It is attributed to lose its utility value as a musical instrument as it is overlapped with Beopgo because of the feature of timbre as percussion made of leather. It is the purpose and significance of this study to add to the music and dance in Buddhist ritual values not just as a religious behavior, but as an arts and traditional culture, and to make a sacrifice for them to be able to grow as cultural contents in 21st century.