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『법계성범수륙승회수재의궤(法界聖凡水陸勝會修齋儀軌)』의 판본(版本) 양상(樣相)과 문화재적(文化財的) 가치(價値)
朴文烈 ( Park Moon-year ) 동아대학교 석당학술원 2021 石堂論叢 Vol.- No.79
본 硏究는 朝鮮朝 王室版 『法界聖凡水陸勝會修齋儀軌』와 公州 岬寺版 『法界聖凡水陸勝會修齋儀軌』의 대비를 통하여 東亞大學校 石堂뮤지엄 소장 岬寺版 『法界聖凡水陸勝會修齋儀軌』의 版本 樣相과 文化財的 價値를 考察한 것으로 그 結果는 다음과 같다. (1) 水陸齋는 水陸의 떠도는 孤魂과 餓鬼를 위로할 목적으로 佛法의 講說과 음식의 供養을 통하여 저들을 救濟하는 密敎의 성격을 지닌 法會이며, 水陸齋의 起緣을 비롯한 제반 儀式과 節次를 기록한 것이 水陸文이고 이를 정리하여 版本化한 것이 水陸書이다. (2) 중국의 水陸齋는 梁朝의 武帝로부터 시작되어 宋朝에 이르러 水陸文이 정비되면서 楊諤의 『天地冥陽水陸儀文』과 志磐의 『法界聖凡水陸勝會修齋儀軌』가 編纂ㆍ刊行되었다. (3) 우리나라는 高麗朝를 시작으로 朝鮮朝에 이르기까지 國行의 水陸齋가 常設되기도 하였으나 燕山朝 이후로는 國行의 水陸齋는 중지되고 점차 寺刹과 民間을 중심으로 傳承되기에 이르렀다. (4) 중국의 水陸書가 우리나라로 傳來된 이후로 國內에서도 다양한 水陸書가 編纂ㆍ刊行되었으나 그중에서도 編者 不明의 『水陸無遮平等齋儀撮要』와 竹菴의 『天地冥陽水陸齋儀纂要』 및 志磐의 『法界聖凡水陸勝會修齋儀軌』가 가장 널리 알려졌다. (5) 成宗 원(1470)년 7월 무렵에 간행된 王室版 『法界聖凡水陸勝會修齋儀軌』는 王室의 主導 아래 [貞熹]大王大妃가 世祖와 睿宗 및 懿敬王(德宗)의 冥福을 기원하고 침체된 水陸齋의 復興을 위하여 朴耕의 板下本으로 開板된 版本이며, 朝鮮朝의 崇儒抑佛의 政策 아래서도 王室에서 開板된 王室版의 嚆矢이다. (6) 東亞大學校 石堂뮤지엄 소장 『法界聖凡水陸勝會修齋儀軌』는 明宗 13(1558)년에 公州의 岬寺에서 王室版을 底本으로 惠仁과 祖榮이 翻刻함과 아울러 守玄이 書寫한 刊行秩만은 새로이 板刻하여 간행된 寺刹版의 最初이며, 이 판본은 岬寺(1558)에서 開板된 후로 廣興寺(1563)ㆍ普院寺(1565)ㆍ空林寺(1573)ㆍ淸溪寺(1622)ㆍ龍腹寺(1632)ㆍ釋王寺(1634)ㆍ通度寺(1649)ㆍ松廣寺(1786) 등의 寺刹에 이르기까지 각 사찰에서 開板된 版本에 영향을 미친 根源的 版本이라 할 수 있다. (7) 朝鮮朝 각 寺刹에서 開板된 『法界聖凡水陸勝會修齋儀軌』의 木板 중 비록 完帙이 아닌 일부나마 현재까지 開心寺ㆍ淸溪寺ㆍ通度寺ㆍ松廣寺 등에 殘存되어 우리나라 寺刹 木板文化財의 우수성이 증명되고 있다. This study analyzes on the editorial characteristics and the cultural values of the Gapsa Temple edition of Beopgyeseongbeom suryukseunghoe sujaeuigwe owned by the Seokdang Museum of Dong-A University. The major findings are as follows: (1) Suryukjae(水陸齋, roughly translated as the ceremony of the waters and the lands), is a Buddhist ceremony aimed at consoling the souls and spirits wandering the waters and the lands by providing them with Buddhist sermons and foods. Suryukmun(水陸文) is a written record of the rituals and procedures performed at Suryukjae, and Suryukseo(水陸書) is a published collection of Suryukmun records. (2) In China, Suryukjae began under the reign of Emperor Wu(武帝) of the Liang Dynasty. With the development of the Suryukmun format, Tian di ming yang shui lu yi wen(天地冥陽水陸儀文) by Yangak and Beopgyeseongbeom suryukseunghoe sujaeuigwe(法界聖凡水陸勝會修齋儀軌) by Jiban were published in the Song Dynasty. (3) In Korea, Suryukjae was performed on a regular basis as a national ceremony in the Goryeo Period and the early Joseon Period, until it was discontinued during the reign of King Yeonsangun, after which it was passed down at Buddhist temples and local communities. (4) The import of Suryukseo publications from China led to the creation and publication of various Suryukseo in Korea. Well-known examples include Suryuk mucha pyeongdeung jaeui chwaryo(水陸無遮平等齋儀撮要, author unknown), Jugam’s Cheonji myeongyang suryuk jaeui chanyo(天地冥陽水陸齋儀纂要), and Jiban’s Beopgyeseongbeom suryukseunghoe sujaeuigwe. (5) The royal court edition of Beopgyeseongbeom suryukseunghoe sujaeuigwe was published in 1470 (1st year of King Seongjong’s reign of the Joseon Dynasty) based on the original script written by Park Gyeong for woodblock printing. The edition was published by the Queen Dowager (Queen Jeonghui) to commemorate King Sejo, King Yejong, and King Uigyeong(Deokjong) and revitalize the Suryukjae ceremony. This publication holds significance as a Buddhist book published by the royal court despite Joseon’s oppression of Buddhism. (6) The edition of Beopgyeseongbeom suryukseunghoe sujaeuigwe housed at Seokdang Museum of Dong-A University is the book’s Buddhist temple edition. It is a collection of two parts: the printed version of the woodblock texts carved by Hyein and Joyeong at the Gapsa Temple in Gongju in 1558(13th year of King Myeongjong’s reign) based on the royal court edition, and the printed version of the new woodblock texts carved based on the calligraphy written by Suhyeon. This edition is the source edition that influenced the revised editions published by the Gwangheungsa Temple(1563), the Bowonsa Temple(1565), the Gongnimsa Temple(1573), the Cheonggyesa Temple(1622), the Yongboksa Temple (1632), the Seokwangsa Temple(1634), the Tongdosa Temple(1649), and the Songgwangsa Temple(1786). (7) Some of the revised woodblock editions of Beopgyeseongbeom suryukseunghoe sujaeuigwe created by these temples are still in existence today, although not in their complete forms. The surviving editions can be found at the Gaesimsa Temple, the Cheonggyesa Temple, the Tongdosa Temple, and the Songgwangsa Temple, which testify to the excellence of Korea’s woodblock printing culture.
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朴文烈 청주대학교 인문과학연구소 2016 人文科學論集 Vol.52 No.-
This study analyzes on the memorial stones of the Seong Ryul(成瑮), Changseonggun(昌城君). The major findings are as follows: (1) Memorial stones are the epigraphic materials which contains the records of buried person such as one’s family clan(本貫), name(諱), pedigree(系譜), activities(行蹟), the date of birth and death(生沒事項), family relations(家族關係), and the location(位置) or the aspect(坐向) of grave etc. (2) Seong Ryul, whose family clan was Changnyeong(昌寧) and courtesy name was Heonbaek(獻伯), was one of the Jeongguk meritorious retainers(靖國功臣) during the era of king Jungjong in the Joseon Dynasty. He was born in 1487(Seongjong 18) and died in 1563(Myeongjong 18) at the age of 77. (3) The memorial stones of the Seong Ryul consist of 5 sheets in total and the title is Yu Myeong Joseonguk Jaheondaebu Changseonggun Seonggong Myojimyeong(有明朝鮮國資憲大夫昌城君成公墓誌銘). The main records ware engraved on the front sides of the stones, while the additional data, such as the order of sheets or a letter ‘預’(ye) which means extra-produced stones, ware carved on the reverse sides of them. (4) There was no information that when and by whom the records of the memorial stones were written or transcribed, and also when and who produced those stones. (5) Although several literatures, which studied the memorial stones of the Seong Ryul, marked the name of buried person as Seong Ryul(成慄, ?~?) not Seong Ryul(成瑮, 1487~1563), however, both were identified as same person, and the former marking was regarded as misspellings of Seong Ryul(成瑮), Changseonggun. (6) The memorial stones of the Seong Ryul deserves to designate and preserve as a local tangible cultural property.
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