人麻呂의 작품에 나타난 神話 연구-神의 성격과 神格化 표현을 중심으로-

윤영수 동아시아고대학회 2019 동아시아고대학 Vol.0 No.56

본 연구는 『萬葉集』의 柿本人麻呂의 작품에 나타난 神話 연구의 일환으로서, 주로 神의 성격과 천황이나 황자의 신격화 표현이 작품 속에 구체적으로 어떻게 묘사되어 있는가를 人麻呂歌集歌를 포함한 人麻呂의 전 작품을 통해 살펴본 것이다. 人麻呂의 전 작품에 나타난 신들의 성격은 海神이나 山神과 같은 自然神, 천황이나 황자를 신으로 숭배하는 人格神, 인간의 능력을 초월하는 絶對神, 그리고 일본신화에 나오는 신들로 분류되며, 이 모든 신들이 人麻呂의 작품에 두루 나타나고 있다. 人麻呂작품 속의 천황이나 황자의 신격화 표현은 人麻呂歌集歌에는 없고 人麻呂作歌에만 나타난다. 그 중에서 <大君は 神にし座せば(大君은 신이시기에)>와 같은 天皇即神의 표현은 壬申의 난 후에 급속도로 高揚된 시대정신으로서 天武천황과 持統천황, 그리고 天武의 황자였던 忍壁황자․長황자․弓削황자에 대해서만 쓰여졌던 成句이며, 白鳳의 시대정신을 집약적으로 나타내주는 말이었다. 따라서 이 詩句는 人麻呂의 독창적인 표현이라기보다는 당시의 관용구였을 것으로 판단된다. 그리고 <大君は 神にし座せば>라고 할 때의 <大君(おほきみ)>는 어디까지나 <うつせみ(現人 또는 現世)>의 <おほきみ>를 가리키는 것이지, 遠祖를 의미하는 <すめろき(皇神祖․皇祖神)>를 가리키는 말은 아니었다. 이러한 의미에서 <大君は 神にし座せば>의 표현에는 어디까지나 살아있는 現人神으로서 의미를 내포한다고 볼 수 있다. <神ながら(신으로서)>의 표현도 人麻呂작품의 神格化 표현으로서 핵심적인 語句이다. 이것은 人麻呂가 창안해낸 독창적 표현으로서, 현존하는 천황뿐만 아니라, 역대의 천황 또는 타계한 천황과 황자들에게까지 이 표현을 가지고 신격화하고 있는 것이다. 이밖에 人麻呂작품의 천황이나 황자에 대한 신격화 표현으로서 <あれましし 神のことごと(태어나신 신이신 모든 천황)>․<天皇の 神の尊(皇祖의 신)>․<神の御代(신의 盛代)>․<神あがり あがり座しぬ(신이 돌아가셨다)>․<神登り いましにしかば(신이 올라가셨기 때문에)>․<神さぶと(신으로서 행동하신다고 하여)>와 같은 語句도 있음을 확인할 수 있었다. This study is a part of the myth study of Kakinomoto Hitomaro’s work appeared in Manyoshu. In this study, I look at how Divine characters and Deification expressions were described in detail in Hitomaro’s work. The characteristics of the Gods in all the works of Hitomaro are categorized into Natural God such as God of the sea or Mountain God, Personality God who became a god from a human being such as an emperor or prince, Absolute God who had extraordinary powers beyond human ability, and other Gods in Japanese mythology. All of these Gods appear in Hitomaro’s work. The expressions of the emperor or prince’s deification in Hitomaro’s work does not appear in Poems of Hitomaro’s works, but only appear in Hitomaro’s Poems. Among them, the expression such as <Because the emperor is the God> was the spirit of the times which were prevalent after Jinshin Rebellion. A set phrase was only written for Tenmu emperor, Jito empress, Osakabe prince who was the prince of Tenmu, Naga prince, Yuge prince, and the set phrase expressed the spirit of Hakuho’s period. Therefore, it is considered that this verse was one of the set phrases rather than the original expression of Hitomaro. Also, the expression, <the emperor> in <大君は 神にし座せば(Because the emperor is the God)> only meant <the present emperor>. It does not refer to <Sumeroki>, meaning forefathers. In this sense, the expression <Because the emperor is the God> only implies the meaning as Arahitokami, a living God. The expression, <神ながら(As the God)> is also a line of a poem which shows Deification in Hitomaro’s work. This is an original expression created by Hitomaro. This expression deifies not only existing emperor, but also successive generations or dead emperor and princes as a god. In addition, other deified expressions of the emperor and the princes in Hitomaro’s work are the phrases such as <あれましし 神のことごと>․<天皇の 神の尊>․<神の御代>․<神あがり あがり座しぬ>․<神登り いましにしかば>․<神さぶと>.

人麻呂文學의 形成背景 硏究

尹永水 동아시아고대학회 2018 동아시아고대학 Vol.0 No.50

人麻呂문학의 형성은 한반도에서 건너간 사람들이 집단적으로 거주했던 지역인 大和의 백제인 가정에서 태어나 성장하면서 시작되었다. 특히 漢學에 뛰어난 사람들의 영향을 자연스럽게 받으며 그의 문학적 재능은 조금씩 형성되어 갔을 것이다. 人麻呂의 삶과 활동무대는 주로 大和를 중심으로 한 近畿지방이었다. 따라서 人麻呂는 大和의 지리적 배경 속에서 자라면서 山城․近江․紀伊 등을 자주 여행하였고, 서정성 넘치는 작품을 자신의 뛰어난 시적 재능을 갖고 제작하고 있다. 人麻呂를 둘러싼 이러한 지리적 배경도 그의 작품형성에 큰 영향을 미쳤으리라고 판단된다. 한편, 人麻呂문학의 역사적 배경은 7세기 후반, 天智․天武․持統의 3대 왕조에 이르는 시기이고, 천황을 중심으로 하는 중앙집권국가와 율령에 의한 지배체제가 확립되어가는 시기였다. 이러한 가운데 人麻呂의 인생과 문학형성에 가장 큰 영향을 미친 사건은 백제멸망과 壬申의 난이었다. 왜냐하면, 백제멸망으로 인해 人麻呂는 大和에서 近江로 이주하게 되었고, 人麻呂의 문학형성은 백제의 망명지식인들에 의해 초래된 近江朝의 문학적 분위기 속에서 이루어졌기 때문이다. 그 후 天武朝와 持統朝에 와서는 倭의 日本化 과정과 천황을 정점으로 하는 더욱 강력해지는 중앙집권국가로의 움직임, 天皇卽神과 現人神 사상의 시대적․역사적 분위기를 직접 체험하면서 人麻呂는 人麻呂歌集歌와 作歌를 계속 제작해 갔다. 人麻呂作歌에 나타나는 시적 감동은 궁정시인 또는 어용시인으로서의 모습이 잘 나타나 있다. 뿐만 아니라, 그의 작품에는 近江朝의 흥망과 성쇠, 인간의 삶과 죽음, 절대적 왕권의 탄생이라는 역사의 커다란 소용돌이 속에서 고뇌하며 살아가는 한 인간의 개인의식․역사의식․시간관이 뚜렷이 나타나 있다. 人麻呂의 문학은 바로 이러한 시대적․역사적 배경 하에서 큰 결실을 얻을 수 있었던 것이다. 마지막으로, 人麻呂 자신의 한문학에 대한 풍부한 지식과 뛰어난 시적 재능이야말로 그의 문학을 위대하게 만든 원동력이었다고 말할 수 있다. 따라서 人麻呂는 다방면에 걸친 그의 시인적 재능과 자질을 바탕으로 전대로부터 내려오는 일본의 문학적 전통도 최대한 활용하여 뛰어난 문학적 달성을 이루었던 것이다. The formation of Hitomaro’s Literature started since Hitomaro was born in Yamato where most immigrants from ancient Korea lived and grew up with the people from Baekjae. It is assumed that he became good at literature while naturally getting influences of the people who were knowledgable about Chinese classical literature. Hitomaro lived and actively worked in Kinki region. Hence, Hitomaro had many chances to travel Yamasiro, Omi, and Kii region and produced the literatures with full of sensations. It is reasonable to assume that such environments greatly affected the formation of his literature. Historical background of Hitomaro’s Literature was the late seventh century when governed by Tenji, Tenmu, and Jito Emperor. At this time, there were two events which significantly affected Hitomaro’s life and work, the Fall of Baekjae and Jinshin Rebellion. Due to the fall of Baekje, Hitomaro had to move from Yamato to Omi region where his work had greatly influenced by Omi Dynasty formed by Baekje’s exiled intellecturals. In Tenmu Dynasty and Jito Dynastry when the japanization feature of Wae and power of emperor became stronger, Hitomaro kept producing poems and literature. In Hitomaro’s poems, he much wrote about a person who lived in such chaotic time when many historical events occurred such as the rise and fall of Omi Dynamsty, life and death of people, and change of emperor’s power. Actually, Hitomaro’s literature could have distinct characteristics because of these historical backgrounds. Also, Hitomaro’s knowledge about Chinese classical literature and his amazing talents as an writer made Hitomaro’s literature exceptional. By utilizing his talents and keeping literature style of Japanese culture in his work, Hitomaro made substantial achievement in Hitomaro’s literature.

日並皇子殯宮挽歌 연구

尹永水 동아시아고대학회 2017 동아시아고대학 Vol.0 No.46

『萬葉集』의 柿本人麻呂의 <日並皇子挽歌>는 일본최초의 공적인 殯宮挽歌 라는 문학사적 意義를 갖는 작품으로서, 長歌 전반부는 신화적 세계관에 입각한皇統찬미, 長歌 후반부는 황자의 죽음에 의한 상황이 묘사되어 있고, 反歌에서는 시간경과에 따른 현실인식과 서정의 심화라는 詩的 구조를 이루면서 황자의죽음을 애도하고 있다. 장가 전반의 훈고 해석상의 문제는 人麻呂가 인지하고 있었던 신화가 어떠한것인지 정확히 밝혀져야만 해결될 수 있는 문제로서, 어떻게 읽고 해석해도 작품이해에는 큰 문제는 없다. 다만, 人麻呂의 작품 속에 記紀신화나 祝詞와 같은 前代로부터 내려오는 전통적 詞章의 영향은 인정할 수 있다. 이런 점에서 人麻 呂는 傳統歌人이면서도 창조적인 詩人이다. <高照らす 日の皇子>는 天武천황 또는 日並황자 어느 한 사람만을 염두에 둔표현이 아니다. 두 사람을 同一視한 人麻呂의 詩的 표현이다. 日並황자는 父親 인 天武천황과 마찬가지로 飛鳥淨御原宮에서 천황으로 즉위하여 천하를 다스려야할 황태자였고, 天孫降臨에 의해 시작된 皇統譜를 계승해야할 인물이었다. 이러한 궁정인들의 마음과 인식을 충분히 알고 있었던 人麻呂가 天孫과 연결되면서도 天武와 日並을 동시에 연상할 수 있는 시적 표현으로서 <高照らす 日の 皇子>라는 전통적인 語句를 채택한 것이다. 따라서 <日の皇子>를 天孫과 연결시키는 이러한 이중, 삼중의 묘사는 역대의 모든 천황은 천상에서 지상으로 강림한 天孫 니니기노미코토와 연결된 권위 있는 거룩한 존재로서 끊임없이 계승되어야 한다는 天孫降臨神話 자체가 갖는 意義를 그대로 반영한 것이라 볼 수 있다. 人麻呂는 황실과 궁정 사람들의 이러한 소망과 심정을 자신의 뛰어난 시적재능으로 간결하면서도 압축적인 방법으로 표현하고 있다고 평가할 수 있다. 人麻呂의 작품에 서술된 신화와 記紀신화의 미묘한 차이는 당시 체계화 되지못한 신화의 모습을 보여준다. 그것은 人麻呂의 신화에 대한 지식과 이미지를자신의 詩的 재능과 창조성을 문학적으로 표현한 것이었기에 생겨난 차이점이다. 또한 人麻呂는 자신만이 알고 있는 신화 또는 다른 系統의 신화에 대한 지식을 바탕으로 形象化한 결과, 이러한 차이점이 발생했다고도 생각된다. 人麻呂의문학사적 위치가 구승문학에서 기록문학으로 넘어오는 過渡期에 위치한 歌人이라는 점에서 人麻呂가 認知하고 있었던 신화는 記紀신화의 내용과 동일한 것이었다고는 볼 수 없다. 이러한 점에서 人麻呂의 <日並皇子挽歌>는 殯宮挽歌의樣相뿐만 아니라, 그 당시 궁정사회에 전해진 신화가 어떠한가를 보여주는 작품이고, 萬葉人들의 생활과 신앙 속에 녹아 살아있던 신화의 片鱗을 엿볼 수 있는작품이라 평가할 수 있다. As a work that has the literary historical significance of Japan’s first public Elegy at Mortuary, Manyoshu’s <The Elegy of the Prince Hinamisi> written by Kakinomoto Hitomaro, praises the imperial line based on a mythical worldview in the first half of the long poem, describes the situation caused by the death of the emperor’s son in the later half of the long poem, and mourns the death of the emperor’s son while achieving a poetic structure of recognition of reality over time and lyrical deepening in the short poem. The problem of the interpretation of the exposition throughout the long poem can be solved only if the myth that Hitomaro was aware of is revealed. As such, no matter how you read and interpret the poem, there is no problem understanding the work. However, in the work of Hitomaro, the influence of the traditional poetic style coming from former ages such as Kiki mythology or Norito(a written ritual prayer) can be acknowledged. In this respect, Hitomaro is a traditional poet and a creative poet. <Takaterasu Hinomiko Prince> is not an expression with only one person in mind, Emperor Tenmu or Prince Hinamisi. It is a poetic expression of Hitomaro who identifies those two people. Prince Hinaminsi, like his father Emperor Tenmu, is the prince of the emperor who would crowned as emperor at Asukakiyomihara Palace, would rule the world, and would inherit the Imperial line Genealogy begun by Advent of Heaven’s grandson. Hitomaro, who was fully aware of the minds and perceptions of these court people, adopted the traditional phrase, <Takaterasu Hinomiko Prince> as a poetic expression that was linked Heaven’s grandson, and could be associated with Tenmu and Hinamisi at the same time. Therefore, this double, triplet depiction linking <Hinomoko Prince> to Heaven’s grandson reflects the significance of the mythology of Advent of Heaven’s grandson that all emperors must be inherited ceaselessly as a precious holy beings connected with Heaven’s grandson Niniginomikoto descending from heaven to earth. Hitomaro expressed the hopes and feelings of the imperial court and court people in a concise yet compact way with his excellent poetic talent. The subtle difference between the myths described in Hitomaro’s work and Kiki mythology shows that myths were not organized until that time. The difference was occurred because the knowledge and image of Hitomaro’s myth was literally expressed based on his poetic talent and creativity. In addition, Hitomaro formed this work based on his knowledge of myths that he only knew or on knowledge of myths of other systems, and it seems that such difference occurred as a result. In the sense that Hitomaro’s position of literary history is a poet in the transitional period from oral literature to documentary literature, the myths that Hitomaro recognized were not the same as those of Kiki mythology. In this regard, Hitomaro’s <The Elegy of the Prince Hinamisi> shows not only the aspects of the Elegy at Mortuary, but also what myths were conveyed to court society at that time. It is a work that shows a part of the myth that was alive in the life and faith of the People of Manyoshu’s period.

히토마로 「아스카 강」 노래와 古都奈良의 문화사적 의미 고찰

고용환 동아시아고대학회 2017 동아시아고대학 Vol.0 No.47

I focused on the notation of “Asuka River (飛鳥川)” of ancient capital Nara which is a major expression phrase of Hitomaro song, and tried to explore the cultural history meaning lurking in the notation of the river. Well, as a result of analyzing expression phrases of songs ascribed to “Asuka River ” by Hitomaro, it is known that it is depicted as a sacred spirit that the Emperor spirits are celebrating the Emperor, festivating the god. That is, along the “Asuka River ”, it is confirmed that this “Asuka river ” was depicted as a sacred place where the Taoist culture flowed in along with Baekje’s advanced Buddhism culture bloomed. Well, first attention was paid to the expression of Miyako which is qualified as “clean” in the song phrase surrounding the river. For example, in the Yoshino River song (36th) it is expressed as “Kiyoi Kawachi(Kawauchi)” (a clean river circles around) and therefore singing that it was a sacred place that Takimiya was suitable for building It is said that. Compared to the case where such a phenomenon is the palace of Zhou Mu King of “Liezi” as the city of the Emperor’s Palace, it is as if to say the idea to record the kingdom as a “clean city” It is thought that it is proved to be an idea. Next, there is a song (vol.2·224-5th) that pains himself at the time of his death in the expression of the river of Hitomaro. It is discovered that the song is singing something strange to the expression at the end of the term “lying down on a river with a stone as a pillow.” So, the author of the expression “lying down on a river with a stone pillow” is Cao’s Youxian poem(遊仙詩) “Qiū hú xíng” 「秋胡行」, “rinse with clean water, drink springs and thinking, I tried to rise to heavenly and And eventually it came from the idea that ascending into heaven and trying to become a god”. Especially in the Akahito song of a later era, in the evidence that the trace that imitated Hitomaro song’s phrase was proved clear, in the expression of his “Asuka river ” the notation “Frog(Toad)” Appear. So, paying attention to the Frog(Toad)& turtle living in the river expressed by this song, it is necessary to pay attention to the fact that animals living in river side of the Xi Du Fu “Weishui River (渭水)” are drawn . In other words, it seems that it was a testimony of trying to express that the kingdom is a factional boundary, which caused the Frog(Toad) to appear in the river flowing in Wei. Likewise, the Asuka river’s “frog (Toad)” is also found to be an Anthem by the influence of the poetry with the intention of seeing the Kingdom as a godsend temple. Such an event is diverted from the Taoism thought that “Longevity frog (Toad) grows horn at head and that lifespan becomes 1,000 or 40,000 years if drinking it” in “Bào pǔ zi” ‘xiānyào piān’”. It can be inferred that the Asuka river of Hitomaro song was also a technique of poetic thought that was used in Taisho’s Shinsen thought. In conclusion, it is confirmed that Tanabata’s view of the universe of “Amanokawara(The Royal palace of the Milky Way river(Elegy of Prince Hinamishi(vol.2·167th & vol.10·1997, 2003th)” is drawn in the notation of the song “Asuka River ” by Hitomaro. This is exactly like the Royal Imperial Palace built in the river side of Weishui (渭水)flowing in Xī dū which Ran-chi Palace(蘭池宮) is built on the river that flows in a belt-like shape, the Kingdom flourishes like “Eternal longevity” and “The world of eternal ideals” It is inferred that the view of the sacred place of the temple, which he wished to pray for, was projected as the lyrics of this “Asuka River ” song. 히토마로의 노래 어귀에 古都奈良의 「아스카 강」이 표기되고 있다는 점에 착안하여. 강줄기를 따라 선진불교문화와 함께 유입된 도교문화가 아스카 강과 주변 산들을 천황의 도읍지로 형성된 과정과 천황영이 깃든 신을 제사지내는 성지로 그려지게 된 문화사의 원류를 밝히고 자 하였다. 먼저, 히토마로 노래에는 청정함으로 수식되는 표현구의 예를 들어보면, 요시노 강을 노래한 「카우치(河内)」(36번) 「강에 둘러싸여 있는, 강을 순회하는 곳」 이란 뜻으로 강의 청정함을 표현하고 있다. 이는 『열자』의 周穆王의 궁을 「천제의 궁전인 청도(淸都)」라고 한 것과, 왕도를 「청정한 도읍지」라 기록한 것과 같은 의미를 가진다고 하겠다. 다음으로 히토마로의 강 표현 중에 임종에 가까워스스로를 슬퍼하는 노래에 어찌하여 「바위를 베고 누워있다」(2·224-5)고 표현하게 된 것일까. 고 의문을 가지게 된다. 이는 「돌을 베개(枕石)로 하여 청정한물로 씻고, 샘물을 마시며 사색의 도를 터득하여, 이윽고는 천계에 올라가 신선이 되고 자」하였던 曹操의 遊仙詩 「秋胡行」에서와 같은 사고에서 발현된 것이라 생각된다. 특히, 히토마로의 강 표현구 중에서도 후대의 아카히토는 히토마로의 시귀를모방한 흔적이 뚜렷하다 하겠다. 그중에서도 강에 있는 동물 「두꺼비(개구리)」 와 「거북」 표현에 주목하여 보았다. 이는 「서도부」에서도 두꺼비와 거북(蟾蜍与 龟)이 표기되고 있듯이, 渭水의 선경적인 시구의 묘사와 일치하는 것으로 소위, 왕도를 선경시하고 자하는 취지에서 유래된 것이라 생각한다. 결론적으로 히토마로의 「아스카 강」 노래는, 마치 띠와 같이 흐르는 강줄기에 宮都가 지어진 西 都, 渭水의 蘭池宮처럼, 「불노장생」과 「영원한 이상세계」를 추구하려는 은하수강(天河原: 167, 1997, 2003번 노래)의 선경적인 궁도개념의 詩想化라 하겠다. 이는, 궁극적으로 지상의 궁전도 그러한 번영을 추구하고 자 한 신선적인 宮都 観에 의하여 지어진 「아스카 강」 노래의 서정성을 잘 나타내 보여주고 있다고 추론할 수 있을 것이다.

히토마로 「아스카 강」 노래와 古都奈良의 문화사적 의미 고찰

高龍煥 동아시아고대학회 2017 동아시아고대학 Vol.0 No.47

히토마로의 노래 어귀에 古都奈良의 「아스카 강」이 표기되고 있다는 점에 착안하여. 강줄기를 따라 선진불교문화와 함께 유입된 도교문화가 아스카 강과 주변 산들을 천황의 도읍지로 형성된 과정과 천황영이 깃든 신을 제사지내는 성지로 그려지게 된 문화사의 원류를 밝히고 자 하였다. 먼저, 히토마로 노래에는 청정함으로 수식되는 표현구의 예를 들어보면, 요시노 강을 노래한 「카우치(河内)」(36번) 「강에 둘러싸여 있는, 강을 순회하는 곳」 이란 뜻으로 강의 청정함을 표현하고 있다. 이는 『열자』의 周穆王의 궁을 「천제의 궁전인 청도(淸都)」라고 한 것과, 왕도를 「청정한 도읍지」라 기록한 것과 같은 의미를 가진다고 하겠다. 다음으로 히토마로의 강 표현 중에 임종에 가까워스스로를 슬퍼하는 노래에 어찌하여 「바위를 베고 누워있다」(2·224-5)고 표현하게 된 것일까. 고 의문을 가지게 된다. 이는 「돌을 베개(枕石)로 하여 청정한물로 씻고, 샘물을 마시며 사색의 도를 터득하여, 이윽고는 천계에 올라가 신선이 되고 자」하였던 曹操의 遊仙詩 「秋胡行」에서와 같은 사고에서 발현된 것이라 생각된다. 특히, 히토마로의 강 표현구 중에서도 후대의 아카히토는 히토마로의 시귀를모방한 흔적이 뚜렷하다 하겠다. 그중에서도 강에 있는 동물 「두꺼비(개구리)」 와 「거북」 표현에 주목하여 보았다. 이는 「서도부」에서도 두꺼비와 거북(蟾蜍与 龟)이 표기되고 있듯이, 渭水의 선경적인 시구의 묘사와 일치하는 것으로 소위, 왕도를 선경시하고 자하는 취지에서 유래된 것이라 생각한다. 결론적으로 히토마로의 「아스카 강」 노래는, 마치 띠와 같이 흐르는 강줄기에 宮都가 지어진 西 都, 渭水의 蘭池宮처럼, 「불노장생」과 「영원한 이상세계」를 추구하려는 은하수강(天河原: 167, 1997, 2003번 노래)의 선경적인 궁도개념의 詩想化라 하겠다. 이는, 궁극적으로 지상의 궁전도 그러한 번영을 추구하고 자 한 신선적인 宮都 観에 의하여 지어진 「아스카 강」 노래의 서정성을 잘 나타내 보여주고 있다고 추론할 수 있을 것이다. I focused on the notation of “Asuka River (飛鳥川)” of ancient capital Nara which is a major expression phrase of Hitomaro song, and tried to explore the cultural history meaning lurking in the notation of the river. Well, as a result of analyzing expression phrases of songs ascribed to “Asuka River ” by Hitomaro, it is known that it is depicted as a sacred spirit that the Emperor spirits are celebrating the Emperor, festivating the god. That is, along the “Asuka River ”, it is confirmed that this “Asuka river ” was depicted as a sacred place where the Taoist culture flowed in along with Baekje’s advanced Buddhism culture bloomed. Well, first attention was paid to the expression of Miyako which is qualified as “clean” in the song phrase surrounding the river. For example, in the Yoshino River song (36th) it is expressed as “Kiyoi Kawachi(Kawauchi)” (a clean river circles around) and therefore singing that it was a sacred place that Takimiya was suitable for building It is said that. Compared to the case where such a phenomenon is the palace of Zhou Mu King of “Liezi” as the city of the Emperor’s Palace, it is as if to say the idea to record the kingdom as a “clean city” It is thought that it is proved to be an idea. Next, there is a song (vol.2·224-5th) that pains himself at the time of his death in the expression of the river of Hitomaro. It is discovered that the song is singing something strange to the expression at the end of the term “lying down on a river with a stone as a pillow.” So, the author of the expression “lying down on a river with a stone pillow” is Cao’s Youxian poem(遊仙詩) “Qiū hú xíng” 「秋胡行」, “rinse with clean water, drink springs and thinking, I tried to rise to heavenly and And eventually it came from the idea that ascending into heaven and trying to become a god”. Especially in the Akahito song of a later era, in the evidence that the trace that imitated Hitomaro song’s phrase was proved clear, in the expression of his “Asuka river ” the notation “Frog(Toad)” Appear. So, paying attention to the Frog(Toad)& turtle living in the river expressed by this song, it is necessary to pay attention to the fact that animals living in river side of the Xi Du Fu “Weishui River (渭水)” are drawn . In other words, it seems that it was a testimony of trying to express that the kingdom is a factional boundary, which caused the Frog(Toad) to appear in the river flowing in Wei. Likewise, the Asuka river’s “frog (Toad)” is also found to be an Anthem by the influence of the poetry with the intention of seeing the Kingdom as a godsend temple. Such an event is diverted from the Taoism thought that “Longevity frog (Toad) grows horn at head and that lifespan becomes 1,000 or 40,000 years if drinking it” in “Bào pǔ zi” ‘xiānyào piān’”. It can be inferred that the Asuka river of Hitomaro song was also a technique of poetic thought that was used in Taisho’s Shinsen thought. In conclusion, it is confirmed that Tanabata’s view of the universe of “Amanokawara(The Royal palace of the Milky Way river(Elegy of Prince Hinamishi(vol.2·167th & vol.10·1997, 2003th)” is drawn in the notation of the song “Asuka River ” by Hitomaro. This is exactly like the Royal Imperial Palace built in the river side of Weishui (渭水)flowing in Xī dū which Ran-chi Palace(蘭池宮) is built on the river that flows in a belt-like shape, the Kingdom flourishes like “Eternal longevity” and “The world of eternal ideals” It is inferred that the view of the sacred place of the temple, which he wished to pray for, was projected as the lyrics of this “Asuka River ” song.

마쿠라고토바 ‘우쓰세미또’에 깃든 ‘虚空’의 우주관 고찰 - 히토마로의 ‘우쓰세미’표기를 중심으로 -

고용환 동아시아고대학회 2019 동아시아고대학 Vol.0 No.53

First of all, there are 46 singing examples written as ‘Utsemito’ of the pillow words in "Manyoshu". I tried to examine the original meaning and difference of ‘Utsumi' by classifying the works of Hitomaro 's works in front of and behind the notation of ‘Utsumi' whose particles are omitted. In other words, with the notation of ‘Utsusomito’(Volume 2 의 199․210 songs) of Hitomaro centered on the notation of the embarrass ment appearing in the song of ‘Utsusemi’ of the progeny Yakamochi In comparison, I tried to observe notation consciousness which only Hitomaro has. Analyzing these notations many times, it is known that ‘Utsusem’ used before Hitomaro predominantly has a person, the world, the point of modifying life is remarkable. Next time I tried to explore the true meaning of ‘UtsushiOmi’ that appears in the “Kazuragihitogotonushi God" talk compare with these events, and tried to read the generation principle of the pillow words from the cultural aspect in the process. Continuing, ‘Kazuragi's Hitogotonushi God himself is called ‘Utsushi God (God of reality )’and the meaning to be called ‘the water of Utsushi country’ which appears in Yogoto(festival ceremony) of Kamatari I tried to. In these sym metrical words ‘Utsushi (present)’ and ‘Heavenly water", it is thought that images of Shimizu(清水)called Taoism and the image of the palace of clean heaven above are included. Looking at this way, “Hitogotonushi God" that comes out in Emperor Yuryaku's story is deeply related to the introduction of Taoism thought by Baekje's migrant 'Kazuragi', and this ‘UtsushiOmi’ What is being used is more noticeable. As a result, in the two notations of Hitomaro's ‘Utsusemi’([Semi] & [Omi]) (Semi to minister), UtsusoOmi(196, 210), It is known that the meaning of the "signifier (the person who represents the living human being)", which has the authority to extend to the deity as a high-ranking bureaucrat in the court, as in "Hitogotonushi God" of Kazuragi. The second expression of ‘Utusemi’ (119th and 210th song) contains the meaning of “desire for the replacement of the bones as a heaven" by the influence of the Taoism thought transmitted by the predecessors of Baekje, It is assumed that the expression of the insect Shénxiān of the ‘cicada’ representing the ‘Cosmic vision of the empty space’ is expressed together and expressed as a pillow words with unique symbolism in the cultural history. 먼저, 『만요슈(万葉集)』의 마쿠라고토바 ‘우쓰세(소)미또(ウツセミト)’와 관련된 노래는 총 46수가 있는데, 조사가 생략된 ‘우쓰세미(虚<空>蝉․臣)’를 만요의 히토마로 작품을 중심으로 전후로 나누어 역사적 표기 형태인 ‘우쓰시(소)오미’와 ‘우쓰세미’의 원뜻과 차이점을 관찰해 보았다. 즉, 히토마로(人麻呂)의 ‘우쓰소미또’(宇都曾臣跡: 巻2의 199․210番歌)를 중심으로, 후대작가인 야카모치(大伴家持)의 노래에 나타난 ‘우쓰세미’가 주로 無常観을 나타낸 상징어로 사용되고 있다는 점과, 히토마로를 위시한 만요 전기에는 ‘우쓰세미의 사람’의 뜻으로, 후기 만요에 ’우쓰세미의 세상(世)’의 뜻과 양분된다. 다시 세분하여, 히토마로 이전에 쓰인 마쿠라고토바(枕詞), ‘우쓰세미’는 주로 사람, 세상, 목숨을 수식하고 있다는 점이 가장 두드려진다고 할 수 있는데, 이러한 사실들과 함께 記紀에 표기된 가즈라기(葛城)의 히토고토누시(一言主)神 설화를 매체로 마쿠라고토바 그 자체의 본뜻의 생성과정과 의미를 문화사적으로 검토해 볼 수 있었다. 한편, 가쓰라기의 히토고토누시신은 자신을 ‘우쓰시카미’(顕し神)라 호칭하게 된 의미와 가마타리에 의한 천황을 축수하는 祭文, ‘나카토미노요고토(中臣寿詞)’에 나타난 ‘우쓰시국의 물’(顕し国の水)에 주목하여 보았다. 이는 도교에서 말하는 ‘淸水’와 대칭적인 표현구와 함께 措辞되어 ‘청정한 천상의 궁’에 이미지가 함축되어 있다고 생각된다. 이렇게 놓고 보면, 유랴쿠(雄略)조의 설화에서 ‘히토고토누시神’이란, 백제의 도래인 가즈라기(葛城) 씨에 의한 도교사상의 전래와 관련을 가지며 ‘우쓰(시․세)오미’가 사용되어져왔다는 사실에 주목하지 않을 수 없겠다. 그 결과, 히토마로의 ‘우쓰세미((소)오미)(蝉․臣)’ 의 두 가지 표기 중에, 첫째 우쓰소오미(宇都曾臣:196․210․213番歌)에서는, 가즈라기의 히토고토누시의 ‘오미(臣)’와 같은, 조정의 高官으로서 神格에 버금가는 위세를 겸비한 顯臣(現世人으로 나타난 신)의 뜻을 나타내고 있었다는 것과, 두 번째로 ‘우쓰세미(打蝉:매미119․210番歌) ’의 표현에는, 백제선인들에 의해 전래된 도교사상의 영향에 의한 天仙으로서 換骨脫退를 희망하는 ‘매미蝉) ’에 의한 곤충신선의 서정인 ‘허공의 우주관’이 함께 깃들어져 있어, 문화사적으로도 독특한 상징적 이미지를 함축한 ‘마쿠라고토바’로 표현하게된 것이라고 추론하였다.

히토마로 ‘옥 어깨띠’(玉だすき)와 주술적 의미의 고찰 -‘저포 어깨띠’(木綿手次)와 ‘미테구라’(布帛)의 표현구를 중심으로-

고용환 동아시아고대학회 2020 동아시아고대학 Vol.0 No.59

In this paper, we considered the ‘Soul swing(魂振り)’ and the magical meaning of Hitomaro's ‘Tama Dasuki’(Jade shoulder strap)notation. The sacred god festival is described in the notation such as ‘Mulberry cloth’(楮布), ‘Ramie flower’(木綿花◎199), ‘Beach ramie’(浜木綿◎496) ‘Mitegura cloth’(幣帛,1403), 'Ramie shoulder strap’(木綿手次,420), ‘Dyed ramie’(染木綿,★2496), etc. It is known to represent a magical tool used in the rituals of Japan. On the other hand, it is possible to infer the process of introduction of Taoist witchcraft culture by using the numbers 7 of ‘Sugakusa’(七節菅, A seven-node Sedge) and ‘Seven-Branched Sword’(七支刀) in the No.420 song, which resembles Hitomaro's handwriting. Continuing, consider the circumstances in which it is used together with Isonogami Shrine in the song phrase “Look back and look up at 199” linked with Hitomaro's “Jade Shoulder Strap” and the place name that was written as “Sleeve shaking 207”. For example, it is presumed that this was the “Ramie cloth” used during requiem and rituals, and was the surrender of God. In conclusion, it was discovered that Hitomaro's "Shoulder strap" was a "Waving" curse tool used as a gift at the Shrine ritual and at the time of "Harae rituals" It can be inferred that this is exactly the root of the sect of Gangnam around the 3rd century, which was passed down by the predecessors of Ancient Silla and Baekje. 본고에서는 가키노모토노 히토마로(人麻呂)의 ‘옥 어깨띠’(玉だすき)의 ‘진혼’(魂振り)과 주술적 의미의 실체에 대하여 고찰해보고자 한 것이다. 실제로 히토마로의 ‘옥 어깨띠’는 ‘저포’(木綿)의 성분을 띤 것으로 ‘저포 조화’(木綿花乃, ◎199), ‘염색한 삼베’(染木綿, ★2496), ‘저포 어깨띠’(木綿手次, 420)와 같은 ‘미테구라’(幣帛, 1403)를 말한다. 이는 곧 ‘저포’(木綿)나 ‘삼베’(麻)으로 된 ‘누사’(幣)를 걸치고 신성한 신에게 제사 지내는 주술적 성격을 가지는 초혼의 도구이기도 한 것이다. 한편, 히토마로의 필적과 유사한 니후왕의 방카(挽歌, 420)에서도 ‘일곱 마디 골풀’(七相菅)과 ‘칠지도’의 칠(七)로 연상되는 도교의 주술문화의 전래과정을 유추해 볼 수 있겠다. 더구나, 히토마로의 ‘옥 어깨띠’와 관련한 ‘후리사케미루’(振放見, 199)와 ‘소데후루’(袖曾振, 207)의 지명 관련 노래에서는 유독 이소노카미 신궁의 ‘후루’와 연계되어(★2417) 읊어지고 있다는 점을 감안해보면, 이는 곧 진혼과 초혼에 쓰이는 ‘직물’(布帛)’로 신이 빙의하는 주술 도구라는 사실을 알 수 있다. 또한, 히토마로의 ‘어깨띠’의 원류인 ‘히레’(天領巾,◎210․白栲天領巾,◎213, 細比礼乃☆1694)의 표현에는, 칠석전설에서 베 짜는 여신(직녀)과의 交信에서 유래된 주술 종교적 실체이자 신궁에 바쳐지는 공물로, ‘후루’(振)와 ‘하라에’(祓) 의식 때 사용하는 불제의 주구적 성격을 나타낸 실증적 자료라는 것을 논증할 수 있었다. 마지막으로, 히토마로의 ‘어깨띠’ 표현과 관련하여 일찍이 漢나라 詩賦에서도 무속에 의한 스토리 전개를 볼 수 있겠다. 이는 곧, 魏晋시대에 강남지역의 옛 샤머니즘을 기반으로 한 3세기경 도교의 주술적 신앙형태와 일맥상통한 풍습을 나타낸 것으로 동일한 종교형태가 신라와 특히 백제 선인들에 의해 일본으로 전래 된 루트를 유추해 볼 수 있을 것이다.

人麻呂歌集歌における「白玉(水玉)」の情緒

고용환(Koh, Yong-Hwan) 대한일어일문학회 2015 일어일문학 Vol.67 No.-

In this paper, we around the notation in the Omission Type (Ryakutai) song of songs Hitomaro songbook that a Shiratama (white Jade 白玉) is in a non-Omission Type song "white Jade (水玉) ", I tried to examine the nature and lyricism of the difference of each of the "white Jade(白玉·水玉)". And, song of including the general of Manyo song Shiratama (白玉) whereas a song that represents the beauteous lovesickness with a "pearl", to belong to the Tanabata song as only one non-Ryakutai song "white Jade(水玉)", and poetry the had been an attempt is made to represent an image of the Jade(水玉) closer to the "Crystal" is known to be referred to. Nevertheless, the Shiratama white Jade (水玉) in a non-Ryakutai (non-Omission Type) song of this Hitomaro, is found to be the goddess of Orihime (Vega) rated it was the same necklace that was a decoration, and equivalent to the goddess and the necklace in their mythology it is could analogy that has been responsible for the ornaments of personality that represents the Spiritual authority. On the other hand, If you look with a Chinese classics of the predecessor, not only the meaning of the "Jade" as a mere beauty stones in the necklace, it is can be confirmed that the meaning of specific Auspicious had been put in it. To Hitomaro song words extend the "Shiratama(白·水玉)" and similar magical ideas and About that longevity in poetry until the elements of the "Elixir" is. It is considered that had been kept in Thought of Poetry of this "white Jade". If you say it is applied to the Hitomaro song in the simplified, in the Ryakutai song Shiratama(白玉) is the pearl, non Ryakutai in the song Shiratama (水玉) is a Jade that is representative in the crystal, of this Jade it than is the world that component has each been divided into Yin (陰) and You(陽) and harmonious is preached to be created. From the same point of view, when the old and of Li Bai to be sung while maintaining the Taoist thought in The chameleons to fifty-nine & He’s seventh poetry by LI Po’s poem try to observe the poetic diction of "white Jade", such is pure as "Shiratama and Children face" Shiratama(白玉) a point which is It had been read with a allegory it is thought that can be pointed out that has been sung with a poetry similar to Hitomaro.

萬葉集 七夕歌의 硏究

尹永水 동아시아고대학회 2003 동아시아고대학 Vol.8 No.-

This study takes as the subject 132 poems of the Seventh Day of the Seventh Moon in the Manyoshu and discusses the following: the characteristics of the poems of the Seventh Day of the Seventh Moon in the Manyoshu; the characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry; the transmission of the legend of the Seventh Day of the Seventh Moon to Japan; and the relationship between the poems and the Korean people moved to Japan in Ancient Korea. The following is the conclusion. The characteristics of the poems of the Seventh Day of the Seventh Moon are, first of all they are the only work in the Manyoshu with stars in a night sky as the theme, and the fact that all the authors are the intellectuals with noble bureaucratic background and males. Also, unlike the Chinese legend of the Seventh Day of the Seventh Moon or the Chinese poems of the Seventh Day of the Seventh Moon, other characteristics of the poems in terms of the story are: it is Gyeon Woo who crosses the Milky Way on the night of the Seventh Day of the Seventh Moon; Gyeon Woo and Jik Nyeo accept as their fate their heartbreaking love which only allows them to meet each other once a year; and there are many instances of expressions fused with Japanese myths. Thus, even though the poems of the Seventh Day of the Seventh Moon in the Manyoshu have been influenced by the Chinese legend of the Seventh Day of the Seventh Moon, there are significant differences from China. Therefore, it can be stated as Japanese transform or characteristics of the legend of the Seventh Day of the Seventh Moon. The status of the 38 poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry draw attention since they were written in the earliest period among the poems of the Seventh Day of the Seventh Moon in the Manyoshu. They are presumed to have been written after A.D. 680 or in the TenmuㆍJito Dynasty (A.D. 672~696), and the author to be Hitomaro himself. The characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry are that the poems are superb than other poets' work in terms of originality, and that they sing a celestial sad love story as a humanly love story on earth closely connected to the realities of life. According to the literature, the period in which the Chinese legend of the Seventh Day of the Seventh Moon was introduced in Japan is presumed to be much earlier than the TenmuㆍJito Dynasty and by the people who moved from Korea. This paper concludes that in the Omi Dynasty's (A.D. 667~672) rigorous literary pursuit, the Chinese poems of the Seventh Day of the Seventh Moon were widely introduced by the intellectual exiles from Baekje, who were competent in Chinese literature, and in this process the poems of the Seventh Day of the Seventh Moon of the Manyoshu were began to be written. Through this research it was possible to confirm that the influence of the people moved from Ancient Korea is revealed also in a Japanese ancient collection of poems, the poems of the Seventh Day of the Seventh Moon of the Manyoshu.

히토마로 ‘뿌리신화’에 깃든 일본 고대 주술(呪術)문화의 고찰 - ‘사초뿌리(菅根)’와 ‘비쭈기나무 뿌리’의 신화를 중심으로-

고용환 ( Koh Yong-hwan ) 사단법인 퇴계학부산연구원 2019 퇴계학논총 Vol.34 No.-

신화적 사고에 있어서, 식물뿌리가 주는 생명소생의 기능과 번식과정을 관찰한 결과를 인간의 삶과 代喩하여 얻어진 상상력에 의하여 주술문화가 탄생하게 되었다고 생각된다. 그 대표적인 예로 북유럽의 宇宙樹 ‘이그드라실 신’과 같은 뿌리 신화의 예에서, 식물뿌리에는 생명의 샘이 있다고 하여 원초적 창조신화의 모습을 보여주고 있다. 한편, 『만엽집』과 히토마로 노래의 대부분이 식물뿌리와 관련된 예가 많은 가운데, ①갈대 ②돌 ③바위 ④담 ⑤풀 ⑥칡 ⑦나무 ⑧식물 ⑨사초 ⑩소나무 뿌리 등의 예에서 이들 용어는 ‘노리토’(祝詞)의 주술적 제문에서 발현된 歌語의 성격을 나타내고 있다 하겠다. 먼저, ‘뿌리’에 관한 記紀의 주요한 신화의 예로, ‘네노가타스노쿠니’(황천내지는 뿌리의 지하세계)를 배경으로 하여 전개되는 ‘스사노오신’과 ‘오호나무지신’의 예를 들 수 있겠다. 여기에서 식물 뿌리에는 정령이 깃들어 있다고 하여, 생명소생의 기운을 불어넣고자 하는 신령의 부활을 염원하는 주술적 행위가 표현되고 있다. 또 다른 예로, 아마테라스신의 ‘이와토’(岩戶)신화의 예를들어보면, ‘비쭈기나무’를 요리시로(빙의)로 하여 상록수를 인형으로 장식하고, 무녀인 우즈메(ウズメ)가 ‘와자오기’의 춤을 추는 등, ‘신들린’ (神がかり)모습으로 주술적 행위가 전개되고 있는데, 이들은 다름 아닌 ‘뿌리’와 관련된 아메테라스신의 부활과 영혼을 불러일으키려는 주술행위의 신화화라 추론할 수있을 것이다. 궁극에 가서, 히토마로의 ‘뿌리’(根)가 붙는 가어, ‘돌 이삭사초(石穗菅2472)’와 ‘사초뿌리(菅根2473),’ ‘칡뿌리(狹根葛(207)’, ‘소나무 뿌리’(松根2486) 등의 歌語에는 신이 요리시로(빙의)하는 주구의 성격을 짙게 나타내고 있다는 것을알 수 있다. 특히, 히토마로가 자주 사용한 ‘사초뿌리’등의 노래에는 정성을 다하여(懇ろに)기원하는 음양사상에 의한 제사의식이 나타내고 있다. 즉, ‘사초뿌리’를 비롯한 식물뿌리의 歌語에는 생명소생력의 기운을 빌어, 무당이 이를 ‘토리모노’(採物)의 주구로 들고 주문을 외워 초혼(招代)과 재생 부활을 기도하는 궁중의 노리토(祝詞)에 사용한 불사(祓詞)를 ‘歌語化’한 것이라 추론할수 있겠다. In this study, we considered the magical meanings contained in the song words related to Hitomaro's plant root. It is thought that the principle of the process of plant root reproduction and fruit-harvesting processes is applied to the magical content in mythology. At the root of 'Yggdrasil', and Orpheus's underworld myths of Greece were recorded, and the magical myth that the Jewish Kabalah faith had a life fountain by the action of the cosmic tree ‘plant root' was recorded. There is a life spring where plants can be grown, and it shows the appearance of primordial opening mythology. In this article, I will try to consider the meaning of the mythical magic that is included in ‘Sanekazura’(Vineroot狹根葛207) and ‘Sugane’(Sedge root菅根247 3)and ‘Pine roots’(松根2486)etc. among the root-related phrases that are often used in the songs of Hitomaro. First, for the main ‘root’ expressions of ‘Rock’ and ‘Tree plant roots root’, if you refer to the words ‘Odono no Hogai’ and "Harima Hudoki "& "Shan Hai Jing" , It is known that it acts as a "God's Yorisiro(A magic spell)" and has a magical meaning in the passage through which God descends. Therefore, I think that ‘the Nenokatasu Country(根之堅洲國)of the root’ in the KiKi(記紀) myths related to "the root" is a metaphorical expression that actually represents ‘the country of the Nenokatasu world’ and ‘the world of the root in the underground’. It is said that the Amaterasu God's ‘AmanoiwatoIwato’ myth, ‘Amanokagu mountain’ Ihotsu(a lot of)Moth(榊: Oak tree where the spirits rest)"and “Digger up the root of the tree, " borrow the vital power of the tree roots, Yorisiro(Things that the spirits are close to). In short, it is assumed that the mythical phenomenon as described above is concentrated in the phrase of the song that is rooted in ‘Iwahwosuge’(石穗菅 2472)and ‘Sugane’(菅根2473, 2473). In other words, the resuscitative power of plant roots is rooted and borrowed as vitality, and it is used as a curse (Magic tool) for redemption, and as a term of ritual for praying so that there is no disaster in the palace. It is thought. In conclusion, it was combined with the concept of mythology to Hitomaro, and through the vitality of plant roots, such as ‘Veal root’(狹根葛:Vineroot) & ‘plant root’ myth like ‘Sugane’(sedge roots菅根), the shaman was memorized orders, praying for Invite Soul(招魂)and revival. It can be inferred that the presenting term It can be inferred that used it must have been a lyricization of an adjective used in the court ritual as a curse ‘Torimono'(Magic tool呪術道具) by borrowing the plant's root that has the function of regenerating life. So the shrine ritual terminology(祝詞) when the shrine chants the spell of ‘Harae kotoba’ (祓詞:words read by the priest in a Shinto purification rite) Can be inferred to have been ‘sung into words’.