시승(詩僧) 제기(齊己)의 시가고찰

임원빈 ( Won Bin Yim ) 한국외국어대학교 중국연구소 2015 中國硏究 Vol.63 No.-

Qi Ji was a monk, he was good in poetry. Qi Ji plays was very active during late Tang Dynasty and the Five Dynasties. Qi Ji’s poetry can be classified into philosophic inclination of zen poetry、life inclination of the poetry on an object and reflection of realistic poetry. First, Qi Ji wrote zen poetry, its had much zen gusto. Some zen poetry was not seen a buddhist color. A zen poetry of this sort had the state of refined quiet, that looked much alike the state of refined quiet of a general poet``s zen poetry. Second, Qi Ji wrote the poetry on an object, its expressed the spiritual enlightenment of Ze n、a elevated character and the state of refined quiet. Particularly some poetry on an object had the state of refined quiet, its can be regarded as a zen poetry, too. Moreover the poetry on an object with the reality can be meaningful poetry creation. Third, Qi Ji had much care for real society, so wrote realistic poetry. Therefore Qi Ji ensured the high position in poetry circle of late Tang Dynasty. In the event, Qi Ji not only wrote a poetry with a high level but also took a variety of content in poetry, so that Qi Ji had been high position in the poetry circle of late Tang Dynasty and the Five Dynasties.

唐代 詩僧의 禪詩 양상 고찰 - 王梵志, 皎然, 齊己의 禪詩를 중심으로

임원빈 중국학연구회 2015 중국학연구 Vol.- No.73

Zen poetry is the fusion of buddhist zen and poetry, there are zen poetry of a monk and zen poetry of a general poet. Tang dynasty has many poet monks, a representative of poet monks are Wangfanzhi(王梵志) of early Tang dynasty, Jiaoran(皎然) of middle Tang dynasty and Qiji(齐己) of late tang dynasty. Their zen poetry can be classified into a zen poetry with a very strong Buddhist colors and a zen poetry of blending Buddhist elements. On Buddhism color very strong zen poetry, zen poetry of Wangfanzhi(王梵志) very strongly had Buddhism color, but because he mainly expressed instructive contents, his zen poetry did not contain profound buddhist thought. But zen poetry of Jiaoran(皎然) and Qiji(齐己) profoundly expressed teachings of buddhist. On a zen poetry of blending Buddhist elements, Wangfanzhi(王梵志) very little had elements of a zen poetry, but Jiaoran(皎然) and Qiji(齐己) very many had elements of a zen poetry. Moreover, zen poetry of Jiaoran(皎然) and Qiji(齐己) very expertly expressed their spiritual enlightenment. In conclusion, a zen poetry of Jiaoran(皎然) and Qiji(齐己) not only liven up the creative activity of a zen poetry but also raised the level of zen poetry writing, and then had a big influence on the zen poetry writing of general poets.

시승(詩僧) 함가(函可)의 시가고찰

임원빈 ( Wonbin Yim ) 한국외국어대학교 중국연구소 2016 中國硏究 Vol.66 No.-

Han ke was a poet monk through the end of Ming dynasty and the beginning of Qing dynasty. He had been born a member of family of government official and had lived an affluent life. However, He became a monk after his father died. He expressed his thoughts in writing related to real world after the fall of Ming dynasty. Because he wrote the poem about military pressure of Qing dynasty in Nanjing, he was banished to Shen Yang. He died from disease in there. His works are classified into Friendship poems, Zen poetry, Realistic poetry. He got related with variety people. he especially got related with many monk, so he was able to leave a large number of Friendship poems with monk. The feature of his Friendship poems is that his Friendship poems are containing deep anxiety from the fall of Ming dynasty. His Zen poetry was created when he went sightseeing or stayed in Qian Shan mountain during his banishment. He also needed to regain his mental security. So, he left many Zen poetry. But, Some of his Zen poetry also contain the deep anxiety from the fall of Ming dynasty. Realistic poetry is the most important part of his poem. His Realistic poetry describe the fall of his country and the military pressure of Qing dynasty. Also, his Realistic poetry reflects the his own gloomy feeling. In short, Han Ke was a poet monk through the end of Ming dynasty and the beginning of Qing dynasty. He abandoned his social position, and he created lots of poem on the thought which is devotion to his country and to his people. He is a representative of poet monk at the Dong-bei area poetry circle.

만당(晩唐) 선시(禪詩)의 경향성 고찰

임원빈 ( Yim Won Bin ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2018 世界文學比較硏究 Vol.62 No.-

선시(禪詩)의 창작은 불교가 전래된 이후 승려들이 자신의 불교적인 깨달음 및 불교교리와 불교경전에 대한 깨달음을 시가로써 표현한 것으로부터 시작된다. 당대(唐代)에 이르러 시가의 발전과 불교의 흥성으로 시(詩)와 선(禪)은 점차 융합되면서 선시 역시 발전하게 된다. 만당(晩唐)의 선시는 크게 불교색채가 농후하면서 선도(禪道)의 묘오(妙悟)를 체득한 선시와 불교적인 요소가 거의 드러나지 않으면서 시도(詩道)의 묘오(妙悟)가 체현된 선시로 구분할 수 있다. 우선, 만당 시인들은 불교색채가 농후한 선시를 창작했다. 그러나 이들은 불교를 종교로써 받아들인 것이 아니라 사회문화로 받아들였기에, 이들의 선시는 불교적인 깊이가 깊지 않았다. 둘째, 불교적인 요소가 거의 드러나지 않는 선시들은 바로 선리(禪理)를 중시하지만 선어(禪語)를 중시하지 않는 선시이다. 이러한 선시들은 청일(淸逸)하고 담박(澹泊)하며 한가하면서도 그윽한 경계를 만들어 내고 있기에, 시적인 오묘한 경지를 잘 표현하고 있는 수준 높은 시가창작이라고 할 수 있다. 셋째, 이들이 비록 불교색채가 농후한 선시 및 그윽한 경계를 가진 선시를 창작했지만, 이들이 창작한 선시들의 내면에는 이들의 심리적 고통과 쓸쓸하고 우울한 심정이 담겨 있다. 즉, 이들이 불교에 가까이 가게 된 것은 사실상 순수한 관심과 귀의의 심리가 있었기 보다는 불교를 통해 자신들의 심리적 고통을 벗어나고자 했던 경향성이 강했다고 할 수 있다. The Zen poetry begins with the monks expressing their Buddhist enlightenment and the enlightenment of the Buddhist scriptures and Buddhist doctrine through the poetry since the introduction of Buddhism. By the time of the Tang Dynasty, the poetry and the Zen gradually fuse because of the development of the poetry and the excitement of Buddhism. So the Zen poetry also develops. The Zen poetry of the Late Tang Dynasty can be divided into two types. One is the Zen poetry that the Buddhist color is enriched and the enlightenment of the adoration of the Zen sect is acquired. The other is Zen poetry that embodies the enlightenment of the poetry without revealing the Buddhist elements. First of all, the poets of the Late Tang Dynasty created a rich poetry of Buddhism. However, they did not accept Buddhism as a religion, but accepted it as a social culture. Their Zen poetry was not deep in Buddhist depth. Second, the Zen poetry that embodies the enlightenment of the poetry without revealing the Buddhist elements is an expression that emphasizes the merit of the Zen sect but does not emphasize the terms of the Zen sect. These Zen poetries are creating a boundary that is fresh and refined and leisurely. It can be said that it is a high-quality poetry that expresses the poetic world well. Thirdly, although they created a rich and clear boundlessness of Buddhist color, but they express their psychic distress and lonely and depressed feelings on the inside of their Zen poetries. In other words, the fact that they came close to Buddhism was actually a tendency to deviate from their psychological suffering through Buddhism rather than pure interest and

문화,문학 : 중당(中唐) 승려(僧侶) 시풍(詩風)의 선구자(先驅者) 영일(靈一)의 시세계(詩世界)와 문학사적(文學史的) 의미(意味) 고찰(考察)

이경민 ( Geing Min Lee ) 경희대학교 비교문화연구소 2012 비교문화연구 Vol.29 No.-

This paper is to study the Tang Dynasty monk poet Ling-yi`s poem world and his significance on history of literature. In Chinese literature history, "the monk poets" is a very unique literature creation group. The means of a word "the monk poet", from the literal can see " he is the monk that Can write poems", which is dedicated to professionally writing poetry monk. Buddhism spread to China, from the Wei and Jin Dynasty beginning has been writing poetry of the monks, but the real meaning of "the monk poet" (i.e., professionally poetry monk) appeared to the Mid-Tang Dynasty period. The monk Ling-yi is the pioneer of the monk poets group and Buddist monk creative poem in Mid-tang Dynasty period. Although the Lingyi life is very short, only 35 had died, and his poetry has not been too much, only 44 songs, but he in this life of 35 years and 44 poems, for the development of classical Chinese poetry left noticeable imprinting. He is not just as monk`s high practice and by advocating for great Buddhist scholar, also through the daily meditation in poetry creation practice were obtained at that time of many men of literature and writing respected. This paper from the poem monk Ling-yi double identity - the first is a Buddhist monk, the second is addicted to poetry poet to proceed, step by step, in-depth study as the poem monk Ling-yi`s poetry creation characteristic and the creative mentality characteristics. This thesis also explores the poem monk by the creation of poetry pursuit, exploration, finally realized "poem" and "Zen" together as one "Zen poetry" creation mechanism.

14-16세기 일본 五山禪僧의對中國 집단학습활동을 통한관련 지식 축적 및 인식 전파에 관한 연구(1) - 오산선승의 詩會를 중심으로

정세진 한국중국어문학회 2020 中國文學 Vol.105 No.-

Osan-zen monks was a Zen monk who was active in Japan in the 14-16th century and was then a Japanese knowledge class. They served in Osan Temple with the support of the warrior power, or political and economic support of the the shogunate, and supported the Ministries with their academic knowledge and diplomatic skills. The Osan-zen monks had a huge impact on the ministry's preparation of knowledge and awareness on China, especially since they had the highest position in China-related knowledge. In this paper, it was confirmed that the Osan monks accumulated and passed on the vast knowledge related to Chinese poetry, history, and study abroad by means of "collective learning" to accumulate knowledge related to China. In particular, it was confirmed that the knowledge was shared and circulated through the poetry-writing group involving the monks, officials, and shogunates, and that their relationship was further strengthened. In short, the level of knowledge related to China that the government had at that time can be measured through the learning and poetry activities of the Osan monks who played a role as literati class in the 14th and 16th centuries. 오산선승은 14-16세기에 일본에서 활동한 선종 승려들로서 당시 일본의 지식 계층이었다. 이들은 무사 권력, 즉 막부의 정치경제적 지지를 받아 오산사찰에서 활동하였고, 학문적 지식, 외교적 능력 등으로 막부를 떠받쳤다. 오산선승들은 특히 중국 관련 지식에 있어서 최고의 위치를 점하고 있었기 때문에 막부의 중국 관련 지식과 인식 마련에 막대한 영향을 끼쳤다. 본 논문에서는 오산선승들이 중국 관련 지식을 축적하기 위해 ‘집단 학습’의 방법으로 방대한 중국의 시문, 역사, 유학 관련 지식을 축적하고 전수하였음을 확인하였다. 특히 막부의 무사, 관리, 승려들이 참여하는 시회를 통하여 이러한 지식은 공유되고 순환되었으며 그들의 관계를 더욱 돈독하게 맺어주었음도 확인하였다. 요컨대 14-16세기 문인 계층으로서의 역할을 수행했던 오산선승들의 학습과 시회 활동을 통해 당시 막부가 지녔던 중국 관련 지식의 정도를 가늠할 수 있는 것이다.

佛敎傳入韓中兩國初期僧侶詩歌的比較硏究

임원빈 한국중국학회 2015 中國學報 Vol.73 No.-

Since Buddhism was introduced, the ancient Monks of Korea and China did the translation and wrote the annotation of Buddhist scriptures. They interpreted and expressed these understandings of Buddhist doctrines in a type of poetry. During the early times that Buddhism was introduced, the Monks of Korea and China wrote poetry related to Buddhism. There was not a big difference in the way they wrote it. However, the Monks of China also wrote a poetry unrelated to Buddhism, whereas, the Monks of Korea only wrote poetry related to Buddhism. This was because the Chinese character was not essentially an ancient Korean character. In addition, the poetry as a literary form was not a literary form of Korea. In a poetical composition unrelated to Buddhism on Monks of Korea and China, there was difference in the way it was written. First, general poetry on Monks of China not only showed a secular personal feelings but also expressed views on society. However, general poetry on Monks of Korea merely expressed secular personal feelings. Moreover, the second, Monks of China made an idyllic theme and landscape, combined with Buddhist philosophy. But the Monks of Korea did not depart from the range of personal life and experience. They did not combine idyllic and landscape with Buddhist philosophy. Many korean scholars were mentioned that the influence of Chinese character literature in korea was started by Choe Chi Hyeon. Nonetheless, the Monks in Korea were the ones who started the high level of poetic creation 200 years earlier than him. Their poetic creation were endowed a big importance in the history of Chinese character literature in korea and in history of korean literature.

경봉(鏡峰) 정석(靖錫) 선사의 오도송과 승려 교유시

강석근 ( Kang Seog-keun ) 한국시가학회 2017 韓國 詩歌硏究 Vol.42 No.-

This thesis is a study of the enlightenment poetry (悟道詩) and literary exchanges by the monk Gyung-bong (鏡峰) Jeong-suk (靖錫) (1892~1982), a high priest who represents modern Buddhist society in Korea. Gyung-bong dedicated his life to the practice and popularization of Buddhism at Tongdosa (通度寺) Geung-nag-am (極樂庵). He lived to be 90 years old and furthered the tradition of Buddhist poetry, and was a representative poet of modern Korean Buddhists. His work, Samsogul-il-ji (三笑窟日誌), is a history of modern Buddhism in Korea in poetic form written over several years. Through this volume, he communicated with believers using poetry, as he believed that poetry was the true tool for practice and to complete his mission. In addition, the main theme in this work is Oh-do-song and the poetry exchange between the city and other high priests. Oh-do-song (悟道頌), written in 1927, is a masterpiece that presents Oh-do`s emotions in a comprehensible language. In this piece, Oh-do realizes that the object he had spent 20 years searching for was a “heart,” which was right in front of him. He said that this realization resolved all his suspicions instantly. During his lifetime, Gyung-bong interacted actively with the monks Guha (九河) and Han-am (漢岩). Guha and Gyung-bong were the representatives of modern Tongdosa. When the two separated for a while, they missed each other and exchanged poetry. They had fierce debates on Buddhism, and were equally skilled poets of Buddhist poetry. The exchange of high quality poetry by these two monks epitomizes the friendship and tone that is characteristic of Tongdosa and modern Korean Buddhists. Han-am was Gyung-bong`s closest friend in literature and practice. The 24 letters that they exchanged with each other are like a forum of Zen Buddhism. The wit and sensibilities of the two people in the letters, and the poetry of Gyung-bong, which are motivational, have left a strong impression on the readers.

中ㆍ韓ㆍ日 漢詩에 나타난 故鄕意識 - 文人詩ㆍ僧侶詩의 對比를 兼하여 -

印權煥 고전문학한문학연구학회 2009 고전과 해석 Vol.7 No.-

본고에서는 中․韓․日 삼국의 文人詩․僧侶詩에 나타난 故鄕意識을 살펴보았다. 본능적인 歸巢本能에서 우러나오는 ‘故鄕에 대한 사랑과 그리움’은 가장 보편적인 人間情緖이며 가장 절실한 感情의 하나로서, 東西古今을 막론하고 많은 詩作品에서 題材 및 主題로 사용되었다. 그러나 같은 故鄕을 대상으로 쓴 詩라 하더라도, 細部的인 意味와 心象에 있어서, 詩人이 처한 自然環境이나 歷史, 文化的 背景, 그리고 개인적 才能이나 情況에 따라 많은 차이가 발견되었다. 우선 故鄕을 생각하고 그리워하는 詩에서 가장 많은 比重을 차지하는 것은 思鄕․望鄕의 故鄕意識이었다. 일찍이 고향을 떠나 客地를 떠돌면서 항상 정든 고향을 잊지 못하는 愛鄕心이 主調가 되어 있는 詩들이다. 먼저 중국 詩 중에서는 李白(701~762)의 <靜思夜>, 岑參(715~770)의 <見渭思秦川>에 나타난 愛鄕心을 살폈으며, 한국 작품으로는 林億齡(1496~1568)의 <送白光勳還鄕>과 洪顯周(1793~1865)의 「偶吟」을 분석하였다. 또한 일본 작품으로는 日本 江戶시대의 尾藤二洲(1745~1813)의 <聽蟲>과 松崎慊堂(1771~1884)의 <秋日臥病有感>에 나타난 思鄕․望鄕의 의미를 살펴보았다. 한편 오늘날에는 交通手段의 발달로 인해 많이 수월해졌지만, 이전만 해도 매우 어려웠던 歸鄕과 還鄕에 대한 절절한 感懷를 이야기한 작품도 많이 찾아 볼 수 있었다. 中國의 경우 陶淵明(365?~427)의 歸鄕詩가 대표적인데, 이는 여느 文人들의 작품과는 다른 것으로서 그 의미를 고찰하였으며, 또한 賀知章(659~744)의 <回鄕偶書>의 의식을 살펴보았다. 다음 한국의 경우, 崔惟淸(1095~1174)의 <故園初歸>와 休靜(1520~1604)의 <還鄕>을 통해, 일본의 경우 中巖圓月(1300~ 1375)의 <歸鄕中留博多寄別源>과 良寬(1758~1831)의 작품 <曉>를 통해 故鄕에 돌아와 느끼는 所懷를 읽을 수 있었다. 마지막으로 韓國의 禪詩에 나타난 故鄕意識을 살펴보았다. 僧侶들은 일찍이 鄕里와 家族을 떠나 山門에 들어가 得度, 授戒한 宗敎人이란 점에서, 그들의 思鄕詩는 文人들의 그것과 同列로 論할 수 없다. 이들 禪詩에 나타나는 故鄕은 일반적의미인 出生의 地理的 處所가 아니며, 대체로 다음 두 가지의 의미로 나타난다. 첫째, 故鄕을 覺, 解脫, 涅槃의 세계로 표현하는 것이며, 冲止(1226~1292)의 <答李公行險>와 慧勤(1320~1377)의 <示諸念佛人>를 통해 구체적 양상을 살필 수 있었다. 둘째, 歸鄕을 臨終이나 辭世의 의미로 보아 죽음의 세계로 돌아가는 사실로 표현한 것으로서, 冲止와 景閑(1298~1375)의 臨終偈를 통해 그 일면을 엿볼 수 있었다. This paper is about the hometown consciousness represented in literati poetry and Buddhist monk poetry of China, Korea and Japan. love and yearning for hometown from the homing instinct is the most general human feeling and the most sincere emotions, which is also used as material and theme in many poetries in all ages and countries. However, although the poem is written about the same hometown, many differences are found according the natural environment, history, cultural background, and personal talent and situation in which the poet is placed in. First, the largest part in the poem yearning for hometown is the hometown consciousness, which is the mediation and desire for hometown. These poetries are mainly about the love for hometown caused by homesickness from wandering foreign land. Among the chinese poerties are Lee Baek(701~762)'s Jeongsaya, Jam Sam(715~770)'s yeonwisajucheon, the Korean poetries are Im Eokryeong(1496~1568)'s Songbaekgwanghunh -wanhyang and Hong Hyunju(1793~1865)'s Ueum, and the Japanese poetries are Bito Jisyu(1745~1813)'s eongchung and Macheujaki kodo (1771~1884)'s Chuirwabyeongyugam of the Edo Age. Second, many poetry are about the earnest emotion of homecoming because of the poor transportation system unlike today. In China, the representative poetry is Do Yeonmyeong(365?~427)'s Homecoming Poem, which is different from other literati poetries. Also including Ha Jijang (659~744)'s Hoehyanguseo. Through Korean poetries Choi Yucheong(1095~1174)'s Gowonchogwi and Hyujeong(1520~1604)'s Hwanhyang, and Japanese poetries Jukan Engesseu(1300~1375)'s Gwihyangjungnyubakdagib -yeorwon and Ryokan(1758~1831)'s Hyo, one's thought from homecoming can be found. Finally, hometown consciousness can be found on Korean Zen poetry. Because Buddhist monks leave hometown and families and enter the temple at early age, their poems about nostalgia are different from those of the literati. The definition of hometown in Zen poetry is not the geological place of birthplace, but has these two meanings. First, hometown is expressed as a world of Buddhahood, Buddhistic emancipation, Nirvana, which can be seen in Chungji(1226~1292)'s Dabigonghaengheom and Hyegeun(1320~1377)'s Sijeyeomburin. Second, homecoming is expressed as return to death, which can be seen in Buddhist hymn about facing death by Chungji and Gyeonghan(1298~1375).

북송(北宋) 시승(詩僧) 도잠(道潛)의 시가고찰

임원빈 ( Won Bin Yim ) 한국외국어대학교 중국연구소 2013 中國硏究 Vol.57 No.-

Daoqian is a celebrated poem-monk of the Northern Song Dynasty. The thesis fall into four major chapters. The first chapter makes an analysis of a poetry depicting the natural environment. The second chapter analyzes a poetry depicting the Ch`an. The third chapter makes an analysis poem of associate with many friend. The five chapter makes study of a realism poetry. The very core of a Daoqian`s poetry is style of a fresh and lively. The Daoqian`s poetry has a distinguishing characteris of the common customs and an scholar officials.