다도철학과 현지(玄旨) -히사마츠 신이치의 다도사상-

김수인 원광대학교 원불교사상연구원 2013 원불교사상과 종교문화 Vol.57 No.-

Tea ceremony are minor in everyday life of human life from the deep, high culture occupies an area ranging from a wide. Furthermore,even in the realm of religion, the tea ceremony is reached. Shinichi Hisamastu’s(1889∼1980), the people with the special history of tea and philosophy. The spirit of Zen Buddhism and tea ceremony philosophy underlies Zen Buddhism saw that he took to be the same. Shinichi Hisamastu’s suggests ‘profound’ said one of the important concepts in the philosophy of the tea ceremony. What is not merely academic or pointing to the essence of the target as a knowledge, but tea can be represented party emerged as the essence of the tea ceremony,he said local is that you need to think. The tea as it simple target knowledge representation of small parties the expressive phenomena that appear in it of any tea performance can not be the subject. Function expressive principals ‘knowledge’ live action can say. It ‘acting’ and ‘knowing’ that acts united state of knowledge that will be. And acted on by the ‘knowing’ to ‘acting’, ‘knowing’ to ‘acting’appear ‘knowing’ should be. Such ‘knowledge’ dimension from the ‘target is’ pointed out, ‘subject’ can be called. Shinichi Hisamastu’s is the idea of ‘knowledge’ or ‘laws’ and ‘subject’ one if you identify as acting principal intellectual profundity of the tea ceremony tea must comply with the law by that exerted. Nirvana-dimensional ‘profundity’ ‘tea ceremony’ ridiculous ‘profundity’nirvana ‘tea ceremony’ to be ridiculous because it should be a two horse eventually becomes synonymous In addition, the dual nature of the profundity true Dine ‘profundity’is based on the person doing the tea ceremony, and must not be based on true human at the same time if not the fact that not. The appearance of the true human meaning of ‘profundity’ of the tea ceremony. To create the true look of the entire human life through creative tea ceremony can be the subject, because it is. Therefore,Shinichi Hisamastu’s a ‘tea ceremony’ profundity-the tea ceremonydrinking tea there is to be one. The core of Zen Buddhism and the spirit of the tea ceremony, tea ceremony Shinichi Hisamastu’s philosophy of thought is clearly linked to building. So maintain the tradition of the tea ceremony, and that it provides a framework of deep thought and should be fully evaluated. Traces such that lifelong love tea and tea as a source of life, and I think the core of Buddhism, and philosopher of contemporary living life will be greater. 다도는 일상생활에서의 사소한 것으로부터 인간생활의 깊고높은 문화에 이르기까지 넓은 영역을 차지하고 있고, 나아가 철학의 영역에까지도 이르고 있다. 히사마츠 신이치(久松眞一,1889∼1980)는 차와 철학이라는 면에서 특별한 이력을 가진 사람이다. 그는 다도철학의 근간을 이루는 것은 선불교라고 보았으며, 선불교와 차의 정신을 동일한 것으로 여겼다. 다선일미(茶禪一味)라는 오랜 차정신의 구현이라는 점에서 히사마츠의사상은 주목된다. 히사마츠가 제시한 다도의 철학에서 중요한 개념 중의 하나는 ‘현지(玄旨)’라는 말이다. 그가 말한 다도의 현지란 단지 학문적이거나 대상적 지식이 아니고, 오히려 차(茶)가 능표현자(能表現者)로서 출현된 본질이라고 생각해야 한다고 본다. 만약 그것이 단순한 대상적 지식으로서의 차를 소표현자(所表現者)라고 하면 그것은 차의 일체 현상에 살아 나타나는 주체는될 수 없을 것이기 때문이다. 능표현적 주체란 ‘살아 작용하는앎(知)’이라 말할 수 있다. 그것은 ‘작용하는 것’과 ‘작용하는앎’이 일체가 된 상태의 앎이어야 한다는 것이다. 그러한 ‘앎’은‘대상적인 지’의 차원에서 볼 때는 ‘주체지(主體知)’라고 할 수있다는 것이 히사마츠의 입장이다. 다도의 현지를 ‘주체지(主體知)’가 작용하는 것으로 파악할경우에, ‘지(知)’ 또는 ‘법칙’과 ‘주체’가 반드시 일체불이로써차의 법칙에 부합해야 한다는 것이 그의 생각이다. 그러한 입장에서 볼 때 ‘다도의 현지’라는 것은 ‘다도’와 ‘현지’라는 별개의말로 되어있지만, 다른 차원에서는 ‘다도’가 ‘현지’라는 말도 되어야 하고 ‘현지’가 ‘다도’라는 말도 되어야 하기 때문에 두 말은 결국은 동의어가 된다는 입장이다. 현지의 이중적 성격은 다도를 행하는 사람은 ‘현지’에 바탕을두어야 하며 동시에 진실한 인간이지 않으면 안 된다는 사실에서 출발해야 한다는 점에서 성립한다. 그러므로 다도의 ‘현지’가 차를 마시는 것을 계기로 하여 인간생활 전체의 참된 모습을창조하는 창조적 주체가 될 수 있는 것이다. 따라서 히사마츠에게 ‘다도의 현지’가 지니는 기본 성격은 현지⋅다도⋅차인의세 가지가 본디 하나가 되는 것이어야 한다는 것이다. 히사마츠의 다도철학 사상은 선불교의 핵심과 다도정신을분명하게 연결 짓고 있다는 점에서, 다선일미의 전통을 고수하고 있는 차계에 깊은 사유의 틀을 제공한다. 그러한 점에서 평생 차를 사랑하고 차를 사유하며 삶의 근원으로써 불교를 품으며 현대를 살아간 한 철학자의 자취는 크다 할 것이다.

우리나라의 다례와 다례에 관한 복식

서옥경(Ok Kyung Suh) 한국복식학회 2004 服飾 Vol.54 No.5

Tea has influenced the basis of Korean culture in history for a long time. The dissertation aims to establish the history of the costumes for the tea ceremony based upon historical data, During Thee Kingdom period, there was a ceremony called Tea Offering Ceremony : In Silla times, there were Tea Offering Ceremony and Royal Shrine Tea Ceremony : In Corea age, they served Tea Presenting Ceremony: In Chosun age, tea ceremony was a part of Tea Presenting and was held during official greeting feasts for foreign envoys and during feast ceremonies at the court, The costumes for the tea ceremony by period are as follows : In Corea times, king and all the government officials wore official court attire for Enthronement Ceremony (Ka-Rye). For Official Guest Reception Ceremony (Bin-Rye), king wore officialcostume, but in case the envoy was not carrying an Official King`s Letter, king wore Ordinary Costume. In Chosun times, both king and prince crown wore ordinary costumes of winged silk crowns and royal robes (with golden dragon patterned segment) for Envoy Reception Tea Ceremony. In time of royal feast ceremony, king and prince crown wore ordinary costumes of winged silk crowns and royal robes, while queen wore red purple silk robe (red purple embroidered segment), Chosun`s royal court occasionally held tea ceremonyat royal feast ceremonies during which king also wore ordinary costume of winged silk crown and royal robe as a costume to attract good fortunes. In case of ceremonies for bad occasions. a tea ceremony was included in Royal Inquisition procedures (joong-hyung-ju-dae-eui) during which king wore simple costume (Pyun-Bok).

茶筵席의 燒香에 關한 東洋三國의 比較硏究

金明培(Miyoung-Bae Kim) 한국차학회 2001 한국차학회지 Vol.7 No.1

This is the last one four kinds of courtesy(The ceremony. Flower ceremony. Tang ceremony. Incense ceremony)in seeking of the original form of The Korea Way of Tea. As the results of study on each kind of an incense etiquette. which was held in the tea ceremony from the three Kingdoms era to the Chosun dynasty, the results of this study were summarized as follows : 1. It was the 5th century, the 19th King of Shilla, King Nulzi(421-450). that incense was introduced into Shilla from China. 2. History of the Three Kingdoms records that tea seeds brought back from Tang China in the 3rd year of the reign of King Hungduk of Shilla(828A.D)by the emissary Tae-ryum were sown on Chiri mountain by royal order and that tea was in vogue from the reign of Queen Sunduck(the reign 632-646) 3. Three Kingdoms era a. Incense which was vestige of Shilla era was discovered in a five-storied pagoda in Ick San and a three-storied pagoda in the Bullgook temple. b. A censer in bottle forms of Kokuryo, the large censer, a censer in bottle forms of Bacljae, a censer in bottle forms, censer named Hwasa of Shilla, etc., were found in their old territories. c. The execution of incense was celebrated in Shilla, it is analyzed by analogy that offering incense to the Buddha by the sutras was celebrated in offering tea to the Buddha. 4. Koryo dynasty a. The tea ceremony incense ceremony were celebrated tagether in Yondung party of the court, Palkwan party, appointing ceremony of a Royal prince the princess, the crown prince a queen an empress. b. The tea Ceremony. Tang Ceremony. Incence Ceremony were held by The Pai Chang Chin Kuei and The Shan Yuan Chin Kuei in Buddhism. c. An instance which the tea ceremony was held in tea seat of a private house was found. d. Teaist spend a few kind of incense, such as Hyang Jeun. Am Hyang, Nock Ke, Yong Noie, KeSeul. e. Censers named Paksan, a silver censer, etc., were used. 5. Chosun dynasty a. The tea ceremony, incense ceremony were celebrated in reception of foreign envoys and religious service of the Imperial Shrine and etc., in the court. b. A hymn with tea and a hymn with incense were celebrated in the Buddhism ceremony. c. The tea ceremony and incense ceremony were also celebrated in Taoism ceremony. d. The tea ceremony and incense ceremony were also celebrated together in the four ceremonies of manhood, marriage, funeral, and ancestral of Confucianism. e. Ke Seul, Ok Yu, a half-moon, a incense-stick, etc.,were used in tea seat of a private house. f. Censers named Paksan, an iron pot for an incense, etc.,were used. 6. Comparative Study In future, comparative study between neighbouring countries should be required.

近代における日本茶道批判

泉千春(IZUMI Chiharu) 한국전시산업융합연구원 2018 한국과학예술융합학회 Vol.32 No.-

The tea culture of Japan is being internationally recognized as the representative of Japan’s continued traditions. That is because the premodern tea culture was reformed based on the criticisms it received during the modernization period. The purpose of this paper lies in examining the criticisms of Japanese tea culture during the modernization process. First, focusing on the two characters Ichizo Kobayashi(1873-1957) Soetsu Yanagi (1889-1961) and the context of their tea ceremony, this paper analyzes their criticism about the tea ceremony. As it is well known, Ichizo Kobayashi is a lauded businessman who successfully executed the Hankyu Road urban renewal and founded the Takarazuka Revue Company, and a person who enjoyed tea culture as a hobby. After stepping down from public service on 1945, he wrote 『New Tea Ceremony』 (1952) for 6 years until 1951(72∼78 years old). On the other hand, Soetsu Yanagi was religion philosopher and acted as a leader for the Mingei Movement. It was when he became 60 year old that he first became interest in the tea ceremony and sponsored tea ceremony party, and published 「『Tea』its illness」(1950), a series of books criticizing the tea during 1945∼1950. As a result of the revision, they showed multiple common grounds in their critics. First, they were similar in that they implemented a unique tea ceremony that was free from the exisiting standard of teaism, and have suggested a self orientented model of tea ceremony. Next is on the criticism on Yiemotojedo. Although Yiemotojedo is a system of succeeding to the family business, under Yiemoto being the head of the school in teaism, both commonly contended that this should not be succeeded as a remains of feudalism. Also, they negatively commented on Hakogaki. Hakogaki is a method of writing, generally description written on a box’s surface-either front of back- about a concealed object’s owner, origin or name. However during then, the price of tea cups which were signed by Yiemoto or those who were recognized by Yiemoto, became the economic interrelation between Yiemoto and the Tool makers, and raised the prices, which led to the tea ceremony becoming strictly for the higher class. Ichizo Kobayashi criticized focusing upon the economic side from a rational perspective and Soetsu Yanagi emphasized how tea ceremony should be valued without the interruptions or diversions to other values. While criticisms made by Yiemotojedo were easily dismissed, the opinions of the influential Ichizo Kobayashi and Soetsu Yanagi stirred upon much argument. Ichizo Kobayashi pursused to use the tea ceremony as a positive way to enhance the well-being of the public, and Soetsu Yanagi aimed to supply the tea ceremony to the public by freely enjoying the tea ceremony without being restricted to established values. Also, their criticisms rooted from their interest towards Japanese culture, as they wanted the tea ceremony to conform to values of the international society. How their opinions were applied is a quest that should be solved through more research.

조선후기・대한제국기 선원전 다례(茶禮)와 다기(茶器)

구혜인 한국학중앙연구원 한국학중앙연구원 2020 한국학 Vol.43 No.2

This article specifically discusses the relationship between ritual vessels and the arrangement and presentation system of the tea ceremony (darye) held in Seonwonjeon from the late Joseon Dynasty to the Korean Empire. Seonwonjeon Hall was a place where the tea ceremonies were held from the late Joseon Dynasty to the Japanese colonial era. The tea ceremony performed in the space of Seonwonjeon was an example of various and flexible forms of royal ancestral rites held during the Joseon Dynasty. Also, it can be said that Confucian and non-Confucian rituals were harmoniously coexisted. The tea ceremony performed in Seonwonjeon is an extension of those with the various and complex attributes that have been performed at the everyday tea ceremony, banquets, and funerals, traditionally handed down from the royal family. Since Seonwonjeon was located inside the place, the tea ceremonies were frequently held. They were recognized as more common and family rites by breaking away from strict Confucian ritual. The types of the tea ceremonies held at Seonwonjeon Hall vary depending on the timing and purpose of the ceremony, and among the diverse tea ceremonies, the birthday tea ceremony was considered especially important. The tea ceremony was originally thought to be a ritual to serve tea, but a comparative analysis of the table setting pictures of Seonwonjeon confirmed that liquor was served at the tea ceremony and meat was served at the birthday tea ceremony. Additionally it is believed that the tea ceremony which was not only filled with tea but also the liquor was valued at the memorial service. Meanwhile, the Seonwonjeon ritual vessels system was established in the late Joseon Dynasty. The total quantity reaches about 50 units, and a high portion of that was silver ware. Especially in the case of ritual cups, jade, gold and silver materials are the main ingredients. The ritual vessels related to the tea ceremonies include jade cups, white porcelain cups (silver cups in the Korean Empire), silver teapots and a bowl for tea leaves. In addition, there are containers for foods, scents, and lighters. According to the book titled Yeongjeongmosa-dogam uigwe(1901), cups made of jade for wine ceremony and tea ceremony were used as ritual vessels for the same object in the same space, but were called differently depending on the type of the ceremony and produced in a different formation. Regardless of the type of the ceremony, it was confirmed that the cup used only for tea was silver tea cup. Seonwonjeon’tea ceremony is a routine ritual that is closer to the deceased, free from the strict rules of Confucian rites. In addition, the tea wares of Seonwonjeon Hall was different from the Confucian ritual vessels and at the same time the vessels were used to serve alcoholic beverages, indicating that the ritual ceremonies and ritual vessels were closely related. 본 글은 조선후기와 대한제국기에 운영된 선원전 다례와 다기의 관계에 대해 논한 연구이다. 선원전은 조선후기부터 일제강점기에 이르기까지 차를 올리는 의식인 다례가 거행된 공간이었다. 선원전 다례는 조선시대 왕실 제향의 다양하고 유연한 형태를 보여주고, 유교식과 비유교식 제향 의례가 독립적이면서도 동시에 조화롭게 공존한 사실을 시사한다. 선원전 다례는 왕실에서 전통적으로 내려온 일상 생활, 연향, 상장례 등에서 행해지던 다양하고 복합적인 속성의 다례의 연장선상에 있다. 선원전이 궁궐 내에 위치한 덕분에 다례를 자주 거행되는 공간이 되었고, 선원전 다례는 엄격한 유교식 제사가 아닌 보다 일상적이면서 가족적인 의례로 인정받았다. 선원전에서 거행된 다례의 종류는 시기와 목적에 따라 탄신다례, 삭망다례, 명절다례, 고유다례 등 다양한데, 그 중에서도 탄신다례가 중요하게 여겨졌다. 탄일에 술과 차를 올리는 행위는 국상기간뿐만 아니라 탈상을 한 이후에도 이루어졌는데, 선원전은 탈상 이후에도 탄신의례를 거행하는 중요한 제향공 간으로 기능했다. 다례는 원래 차를 올리는 의식이라고 여겨져 왔는데 선원전 진설도를 비교 분석한 결과 다례의식에서 술을 함께 올리고 탄신다례에 육선을 올리기도 했다는 사실을 새롭게 확인하였다. 차뿐만 아니라 술을 함께 올리는 의례도 다례라고 불렀고, 역으로 술을 올리는 작헌례에서도 차를 함께 진설했다는 것을 알 수 있었다. 다례에 차뿐만 아니라 술도 올리는 것은 당시 제사에서 술을 중시했기 때문으로 여겨지며, 그럼에도 불구하고 다례가 사라지지 않고 존속한 것은 다례를 조상제향의 일부로 유지시키고자 의지를 보여주는 대목이 라고 할 수 있다. 또 현전하는 선원전 진설도에서 동일한 진설방식을 보이는 경우가 없다는 사실을 통해, 선원전 다례는 목적과 상황에 맞도록 다양한 형태로 운영되었다고 여겨진다. 한편 조선후기 선원전 제기제도는 정조대부터 본격적으로 정립되기 시작했 다. 헌종~철종대 선원전기명발기를 통해 선원전 제기의 전체 수량은 약 50 기에 이르며 특히 잔의 경우 전체 제기에서 차지하는 비중이 높고 특별히 옥, 금, 은의 다양한 재질로 제작했다는 사실을 확인했다. 직접적으로 차와 관련된 제기는 진옥배, 자다기(대한제국기 은다기), 은다초아(대한제국기 은작설다 기), 은다엽표 등이다. 그 외 찬기, 향기, 조명기 등이 있으며 실제 차를 담는 용도의 다기를 제외하고 대부분 작헌례용 제기와 겹친다. 대한제국기에 편찬된 영정모사도감의궤(1901)를 통해 보면 작헌례용 옥잔과 다례용 옥잔은 같은 공간에서 같은 대상에게 술이나 차를 담아 올리는 제기로 사용되었지만, 의례의 속성에 따라 다르게 불리고 다른 조형방식으로 제작되었다. 이처럼 선원전의 다례는 진설방식과 제기 구성으로 보았을 때 일상의 모습과 가까운 의례라고 할 수 있다. 선원전 다례는 유교식 정제와 진설방식에서 차이가 있었고, 마찬가지로 선원전 다기는 정제용 제기와 확연한 차이가 있다는 점에서 의례와 제기는 긴밀한 관계에 있다는 점도 확인할 수 있다.

小林一三の『新茶道』 ー 第2次世界大戦後の日本における茶道の役割を中心にー

이즈미 지하루 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.1

“A New Tea Ceremony”is a question-answer review about Japanese tea ceremony and it was wrote by Ichizo Kobayashi while he was removed from the public office from 1946 and 1951 right after the World War II. This study examines the contents of “A New Tea Ceremony”to identify the Ichizo Kobayashi’s thoughts on desirable form and role of tea ceremony in Japanese society after the war. In “A New Tea Ceremony”, Kobayashi stated that the strength of tea ceremony is the ‘Spirituality of gaining free mind even in the constrained situation’ and ‘Implementation of arts in daily life’ and emphasized the importance of practicing tea ceremony. However, although the Japanese society was heading toward the democratization after the defeat in World War II, the tea ceremony field still had feudal value such as the Iemoto System and the tea ceremony was exclusive for the few privileged classes. In such situation, Kobayashi claimed that the tea ceremony should be introduced to daily life of Japanese people who were devastated mentally and materially. According to Kobayashi, overall standard of living should be improved for Japan to become a leading country. For higher standard of living, he said that material affluence, psychological deepening, and understanding on arts are essential and that habituation of tea ceremony would be appropriate for such goal. In response, Kobayashi claimed the importance of tea ceremony as the total arts and pointed out that the role of tea ceremony in the Japanese society after the war is ‘Improving standard of living’, ‘Intensifying national spirit’, and ‘fostering cultured Japanese people’. Preceding researches on ‘A New Tea Ceremony’ written by Kobayashi focused on the negative parts such as criticism on maintaining the Iemoto System. However, this study identified Kobayashi’s intention for such criticism and found the active meaning aiming for future of tea ceremony and Japanese society rather than ‘criticism for criticism’. 『新茶道』は小林一三(1873-1957)が第2次世界大戦 直後の1946年~1951年、公職追放中に執筆した日本茶道に 関する問答形式の評論集だ。本稿は、その内容を検討するこ とにより、小林の考える戦後日本社会における茶道の在り方と 茶道の担っていく役割を明らかにした。 小林は『新茶道』で、茶道の素晴らしさは、「不自由な 中でも自由な心を得られる精神性」、「生活のなかで芸術を 実践できること」であるとして、茶道を実践することの重要性を 主張した。 ところが、敗戦後、日本社会が民主化していなかで、茶道 界は家元制度などの封建的価値が残存しており、茶道は、相 変わらず一部の特権階級の専有物であった。小林はそのような 現状を批判し、茶道の簡素化と合理化を主張した。それと同 時に物資が乏しいだけでなく、精神的にも荒廃しがちな国民の 生活に、茶道を取り入れることを主張した。なぜなら、日本が 一等国になるためには国民全体の生活水準が向上しなければ ならないが、そのためには物質的な豊かさだけではなく、国民 の精神性の深化と芸術への理解は必須であり、茶道の生活 化が最適であると考えたからである。したがって、小林は総合 芸術としての茶道の重要性を説き、戦後の日本社会における茶道の役割は、「国民の精神性の重視」、「国民の生活 水準の向上」、「教養ある国民の養成」であると主張した。 従来、小林の「新茶道」の研究は、家元制度温存などに 対する批判に焦点がおかれていた。しかし、本稿では小林が 批判をした、その意図を読み取ることによって、批判のための批 判ではなく、茶道の未来、日本社会の未来を考えた上記のよ うな積極的な意味を見いだすことができた。

小林一三の『新茶道』

泉千春(IZUMI Chiharu) 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.1

“A New Tea Ceremony”is a question-answer review about Japanese tea ceremony and it was wrote by Ichizo Kobayashi while he was removed from the public office from 1946 and 1951 right after the World War II. This study examines the contents of “A New Tea Ceremony”to identify the Ichizo Kobayashi’s thoughts on desirable form and role of tea ceremony in Japanese society after the war. In “A New Tea Ceremony”, Kobayashi stated that the strength of tea ceremony is the ‘Spirituality of gaining free mind even in the constrained situation’ and ‘Implementation of arts in daily life’ and emphasized the importance of practicing tea ceremony. However, although the Japanese society was heading toward the democratization after the defeat in World War II, the tea ceremony field still had feudal value such as the Iemoto System and the tea ceremony was exclusive for the few privileged classes. In such situation, Kobayashi claimed that the tea ceremony should be introduced to daily life of Japanese people who were devastated mentally and materially. According to Kobayashi, overall standard of living should be improved for Japan to become a leading country. For higher standard of living, he said that material affluence, psychological deepening, and understanding on arts are essential and that habituation of tea ceremony would be appropriate for such goal. In response, Kobayashi claimed the importance of tea ceremony as the total arts and pointed out that the role of tea ceremony in the Japanese society after the war is ‘Improving standard of living’, ‘Intensifying national spirit’, and ‘fostering cultured Japanese people’. Preceding researches on ‘A New Tea Ceremony’ written by Kobayashi focused on the negative parts such as criticism on maintaining the Iemoto System. However, this study identified Kobayashi’s intention for such criticism and found the active meaning aiming for future of tea ceremony and Japanese society rather than ‘criticism for criticism’.

조선시대 倭使 接賓茶禮에 대하여

심민정(Shim Min-Jung) 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.17

The study looked at the tea ceremony for the reception of the Japanese envoys, which were in a neighboring-country relationship during the Joseon period, determined by dividing the period into the former period and the latter period. The tea ceremony during the former Joseon period was not customary, but it was held on the level of a friendly talk between the Japanese envoys and interpretation commissioners. Also, the offering of the tea ceremony was taken care of by interpretation commissioners. Furthermore, sometimes, the tea ceremony was performed in a concrete ceremonial form, but this was temporary only when a banquet or a feast could not be offered due to some cases including national mourning. As such, the tea ceremony has become customary beginning with the latter Joseon period. It was discovered that the number of performances of the tea ceremony and their methods were written in detail in foreign diplomatic books, which previously omitted records about the tea ceremony. This means that the tea ceremony was also modified with certain standards for performance like at a banquet or a feast. In the meantime, a person in charge of organizing the tea ceremony included Dongraebusa(東萊府使), Busancheomsa(釜山僉使), and Jeobwigwan(按慰官). Therefore, the tea ceremony had a greater importance than in the past when it was organized by Tongsa(通事). Nevertheless, these documents do not mention whether liquor was used instead of tea for the performance of the tea ceremony during the later Joseon period. Hence, it was hard to disclose the reason why it was still called the tea ceremony while actually being a drinking ceremony. This part may be deemed as important in revealing the mid-stage of the tea ceremony; however, to my regret, it still has to remain in question as of now.

近代における日本茶道批判 -小林一三と柳宗悦を中心に-

이즈미 지하루 한국전시산업융합연구원 2018 한국과학예술융합학회 Vol.32 No.-

日本の茶道文化は、現在、国内外で日本を代表する生き た伝統文化として認知されている。それは、前近代に生成され た茶道文化が、近代化の過程で、西洋的な価値と邂逅する ことで露呈した問題点を、認識することによって国際化してきた からではなかろうか。本稿は、前近代において茶道文化が孕 んでいた問題点を、近代における茶道批判を通して明らかにし ようとしたものだ。 研究対象は、小林一三( 1 8 7 3 - 1 9 5 7 ) と柳宗悦 (1889-1961)とした。両者は、事業家で数寄者と宗教哲学者 で民芸運動家という全く異なった分野で活躍したが、当時の社 会に非常に大きな影響力があった。しかも、実際に茶会を主 催し、茶道が新たな方向転換を迫られた第二次世界大戦の 直後に、批判的な論攷を含む茶道論を執筆している点で共通 している。本稿では両者が主催した茶会と、論攷、つまり小林 は1945~1951年の間に執筆した『新茶道』、宗悦は1945~ 1950年代に「「茶」の病ひ」に代表される茶道論考を中心 に検討した。 その結果、両者は、まず、それぞれが既存の茶道の価値 基準にとらわれないユニークな茶会を行い、自らが目指す茶道 の形式を示した。次に、共に家元制度において家元の世襲を 封建遺制として批判し、世襲を止めるべきだと主張している点 で共通していた。また、箱書については、小林は経済的な面 に焦点をあて合理的な観点から批判し、柳は箱書そのものに 縛られず、器物自体を自分の眼で見ることの重要性を強調し た。このような小林と柳の言行は、茶道界ではタブーとされてい た家元制度とそれに派生する問題にメスを入れたものである。 以上のような批判は、小林は国民生活を向上し安泰させる 有益な方法として、柳は既成の価値にとらわれず自由に茶道を 楽しむことで、共に茶道を社会に普及させることを目指したもの であった。それは、即ち国際社会で通用する価値基準を備え るための指摘であり、茶道の国際化に間接的に貢献したと考 察できる。 The tea culture of Japan is being internationally recognized as the representative of Japan’s continued traditions. That is because the premodern tea culture was reformed based on the criticisms it received during the modernization period. The purpose of this paper lies in examining the criticisms of Japanese tea culture during the modernization process. First, focusing on the two characters Ichizo Kobayashi(1873-1957) Soetsu Yanagi (1889-1961) and the context of their tea ceremony, this paper analyzes their criticism about the tea ceremony. As it is well known, Ichizo Kobayashi is a lauded businessman who successfully executed the Hankyu Road urban renewal and founded the Takarazuka Revue Company, and a person who enjoyed tea culture as a hobby. After stepping down from public service on 1945, he wrote 『New Tea Ceremony』 (1952) for 6 years until 1951(72∼78 years old). On the other hand, Soetsu Yanagi was religion philosopher and acted as a leader for the Mingei Movement. It was when he became 60 year old that he first became interest in the tea ceremony and sponsored tea ceremony party, and published 「『Tea』its illness」(1950), a series of books criticizing the tea during 1945∼1950. As a result of the revision, they showed multiple common grounds in their critics. First, they were similar in that they implemented a unique tea ceremony that was free from the exisiting standard of teaism, and have suggested a self orientented model of tea ceremony. Next is on the criticism on Yiemotojedo. Although Yiemotojedo is a system of succeeding to the family business, under Yiemoto being the head of the school in teaism, both commonly contended that this should not be succeeded as a remains of feudalism. Also, they negatively commented on Hakogaki. Hakogaki is a method of writing, generally description written on a box’s surface-either front of back- about a concealed object’s owner, origin or name. However during then, the price of tea cups which were signed by Yiemoto or those who were recognized by Yiemoto, became the economic interrelation between Yiemoto and the Tool makers, and raised the prices, which led to the tea ceremony becoming strictly for the higher class. Ichizo Kobayashi criticized focusing upon the economic side from a rational perspective and Soetsu Yanagi emphasized how tea ceremony should be valued without the interruptions or diversions to other values. While criticisms made by Yiemotojedo were easily dismissed, the opinions of the influential Ichizo Kobayashi and Soetsu Yanagi stirred upon much argument. Ichizo Kobayashi pursused to use the tea ceremony as a positive way to enhance the well-being of the public, and Soetsu Yanagi aimed to supply the tea ceremony to the public by freely enjoying the tea ceremony without being restricted to established values. Also, their criticisms rooted from their interest towards Japanese culture, as they wanted the tea ceremony to conform to values of the international society. How their opinions were applied is a quest that should be solved through more research.

A Study on the Tradition of Tea Ceremony and Cultural Industry in Japan

전재현 조선대학교 국제문화연구원 2013 국제문화연구 Vol.6 No.2

This year, as countries short in natural resources, both South Korean and Japanese government and industries have acknowledged that both needs to invest in improving their presence in cultural enterprises to utilize their national powers more efficiently and have been in talks to find a practical method to do so. It should be noted that Dado (다도, 茶道, tea ceremony) is a very important asset as a business and as a central theme for multiple cultural enterprises. The purpose of this study is to identify the current state of Japanese Dado (다도, 茶道, tea ceremony) and to utilize that information to develop contents which will boost South Koreas Dado (다도, 茶道, tea ceremony). After being organized by Sen no Rikyū (千利休 1522~1591) in the 14th century a tea ceremony Meister program was established around Japans E-ye-moto(家元) and became one of the most unique cultural system to represent Japans tea ceremony. Originally tea was brought over to Japan by monks who traveled abroad to Tang Dynasty (618~907) to study Buddhism. They would bring over the tea seeds and plant them in Seburi mountain located in Saga-hyun. Teas popularity hit near rock bottom until in 1911 where Eisai (1141-1215), who built the Shofujuki temple, brought back tea from the Song Dynasty. During the Muromachi period Dado (다도, 茶道, tea ceremony) began to establish its basic form by embracing the flashy styles of Higashiyama culture. As a reaction to the overly extravagant ways, Murata Jukō (1432-1510) preferred a more simple and modest approach and established the Wabi tea style based on his philosophy that tea and meditation is one(다선일미, 茶禪一味). His style was passed down to Takeno Jōō (武野 紹鴎, 1502-1555) who in turn passed the torch to Sen no Rikyū during the Azuchi-Momoyama period. Sen no Rikyū perfected the art of tea ceremony and completed the Wabi tea culture started by Burata Shuko. Wabi tea is considered the original tea ceremony form for Japans tea culture and Sen no Rikyū was the one who defined it. Sen no Rikyū not only establish and refine the Wabi tea style but also the sōan tea (lit., "grass hermitage") which emphasized on freedom and practicality. Sen no Rikyūs pupil Yamanoue Shoji (1544-1590) added his philosophy of Ichigo-Ichieh (一期一會lit., Once in a lifetime) to that of Shikishichisoku of Sen no Rikyū and continued to improve upon it. Tea began to reach the general public only after modern era. There are three groups who make up the Sansenke, which is in the very heart of Japanese tea culture, and they are Omote Senke (1613~1672), Ura Senke, Mushano Kouji Senke. Some also consider Yabunouchi Ryu and Sadohayami Ryu and call them the big five. Japan has not only embraced Tea ceremony as part of their cultural heritage but also has turned it into a great medium and utilized it in various business and content creations to raise its marketability. First of all, various venues such as Tanabe museum, Irimashi museum, Tea information center and culture centers hold tea ceremonies and classes where everyone can join in for a nominal fee. Second, places such as Numas Koyotei Memorial Park, Uahhonjin park, Porenakakawane Tea center, Shijuokas Tea center, Shimistei Park serves tea to the general public and also hold entertainment events with Tea infused into their programs. Third, various mediums such as Ang Donuts, Nihonjinno shiranai Nihongo (Japanese even Japanese don't know), Hanayori Dango, Aoki Sachikos Chabashirakuri comic in weekly publication Times, and Japanese webtoon the Tears of Tea- Larmes de Thé by Minamo Kaeroo published in EDEN provides multiple angles for tea to reach the general public and last, sales of tea drinks, instant teas, and tea related character products for adding values to teas. As seen above the reason why Dado (다도, 茶道, tea ceremony) has become so accessible to the public was due to the abundant amount of information provided via media and publi...