‘신유림(낭산)’의 선도제천문화와 그 성격 변화 과정 연구

박주연 국제뇌교육종합대학원대학교 국학연구원 2024 선도문화 Vol.36 No.-

본 연구는 신라 천년고도 경주 낭산을 한국선도적 관점에서 고찰한 연구이다. 초기 낭산(신유림)은 신라의 대표적인 소도(蘇塗)로 나타나는데, 삼산오악제가 시행되면서 중악, 삼산과 같은 최고의 지위에 오르게 된다. 진평⋅선덕여왕대에는 제석신앙의 성행 으로 제석신앙의 성소인 수미산으로 전화한다. 본 연구에서는 이러한 변화의 이면에 ‘선도제천문화’와 ‘선⋅불습합적 제석신앙’이 자리하고 있었음을 고찰하였다. 낭산(신유림)은 소도신앙인 전불시대칠가람지 중 하나였는데, 실성왕대에 이르러 김씨왕족의 성산으로서 자리잡게 되었다. 낭산은 중고기 김씨왕실의 왕경오악의 중악으로 기능하였고 중대에는 삼산의 핵심이 되었다. 삼산오악제는 한국선도기학의 ‘삼원오행론’을 사상적 기반으로 하며 홍산문화 우하 량 모신묘의 십자형 구도를 제도적 원형으로 하는 ‘선도제천산’제도였다. 배달국의 선도제천에서 출발하여 단군조선-북부여-신라로 이어진 ‘선도제천문화’가 중고기 이후 김씨왕실에 이르러 김씨족의 삼신산이었던 낭산에서 그대로 체현되었다. 김유신의 ‘호국삼신녀’설화는 선도제천의 신격이 우주의 근원적 생명력을 의미하는 마고삼신에서 호국적 의미의 삼신녀로 비소(卑小)화한 전승을 보여준다. 하지만 이 ‘호 국삼신녀’전승은 낭산이 ‘선도제천산’임을 알려주는 중요한 가치를 지닌 기록이다. 또한 김씨족의 왕권강화를 위한 이데올로기로 기능한 제석신앙은 배달국 이래 ‘선도 제천문화’의 상징인 삼성신앙(환웅신앙)이 불교 내 호법천신신앙으로 화한 선⋅불습합 의 대표적인 사례이다. 선덕여왕의 장지가 조영되고, 통일 후 낭산에 창건된 사천왕사는 ‘선⋅불습합적 제석 신앙’의 성전사원으로 호국사찰의 중심터전으로 자리매김한다. 제석신앙의 원형을 선도제천으로 규정할 수 있는 요소들은 다음과 같다. 첫째, 제석 신앙이 성행한 진평왕대∼신문왕대와 ‘선도제천산’제도인 삼산오악제의 시행 시기가 동시대라는 점이다. 둘째, 제석신앙의 신격인 제석이 선도제천의 신격인 삼성(환웅)의 불교적 변형태라는 점이다. 셋째, 사천왕사의 가람배치에 나타난 오방사상이 한국선도 기학의 핵심인 삼원오행론에 기반하고 있다는 점이다. 요컨대 낭산에 나타난 ‘선도제천 산’제도와 ‘선⋅불습합적 제석신앙’의 배후에는 한국선도의 삼원오행사상에 기반한 ‘선도제천문화’가 자리하고 있었다. This research is on Mt. Nangsan in Gyeongju, the capital city of Shilla Kingdom, viewed from Korean SunDo. At the beginning of Shilla, Mt. Nangsan(ShinYooRim, a forest where the gods played) seems to have been a representative sanctum. It was upgraded to the supreme status like the Middle Rugged Mountain and Three Major Mountains with the practice of the Samsan Oak (Three Major Mountains and Five Rugged Mountains) system. During the reign of King JinPyeong and Queen SeonDeok, Mt. Nangsan transformed into Mt. Sumisan, a sanctum of Indra belief by its prevalence. This paper probed that there are ‘SunDo Heaven Ritual culture’ ‘Indra SunDo-Buddhism fusion’ behind belief of by way this and transformation. Mt. Nangsan(ShinYooRim) was one of the seven temples, sanction belief, before the introduction of Buddhism, settled as the royal family Kims’ sacred mountain during the reign of King SilSung. It functioned as the Middle Mountain of Kims’ royal family’s Five Rugged Mountains in Gyeongju in the middle ancient period and became the center among the Three Major Mountains. The Samsan Oak system is based on the theory of the ‘Five Natural Elements of the Three Dimensions’ of Korean SunDo energy study. It is ‘SunDo Heaven Ritual Mountain’ system which has taken the cruciform of Uharyang goddess’ shrine of Hongsan Culture as a systemic archetype. ‘SunDo Heaven Ritual culture’ started from BaeDal country and has passed down through DanGunJoSeon, North BooYeo and Shilla. Then it was embodied in Mt. Nangsan, the royal family Kim’s mountain. The Indra belief functioned as an ideology for strengthening royal family Kim’s sovereignty, it was a representative example of transformation from Samsung belief (Hanwoong belief), the symbol of ‘SunDo Heaven Ritual culture’, to buddhistic heaven’s gods belief, Korean SunDo-Buddhism fusion. Kim YooShin’s legend of ‘three guardian goddess for the kingdom’ shows that divinity in ‘SunDo Heaven Ritual’ was diminished from MgGo Mt. Samsin which meant the original life force of the universe to three Mt. goddesses which only defense the country. However, it is a record that has an important value which says Mt. Nangsan is a ‘mountain for SunDo Heaven Ritual’. Besides, Queen SeonDeok’s burial ground was made there. After the Three Kingdom-unification, SaCheonWangSa Temple built in Mt. ‘Indra of for belief of has had holy temple Nangsan status a SunDo-Buddhism fusion’ and the central temple of defense of the country. I finalize the elements which can be prescribed as the prototype of Indra belief is SunDo Heaven Ritual as follows. First, it is the same period that Indra belief was prevailing from King JinPyeong to King ShinMoon falls the same time with the period of performing Samsan Oak system, ‘SunDo Heaven Ritual system’. Second, Indra, the divinity of Indra belief is the Buddhistic transform of Samsung (Hanwoong), the divinity of SunDo Heaven Ritual mountain. Third, Korean traditional Five Direction Idea which appeared in the placement of SaCheonWangSa temple is based on the the theory of the five natural elements of three dimensions, the essence of Korean SunDo energy study. To sum up, in the background of ‘SunDo Heaven Ritual mountain system’ shown in Mt. Nangsan and ‘Indra belief of SunDo-Buddhism fusion’, there was SunDo Heaven Ritual culture based on the world view of SamWon Ohaeng theory.

동북아 선도제천 전통으로 본 강릉단오제의 신격 연구

황남미 국제뇌교육종합대학원대학교 국학연구원 2025 선도문화 Vol.38 No.-

Heaven Ritual(祭天儀禮) was the prototype of ancient Northeast Asia's culture and a cultural heritage that serves as a spiritual center for the people of that time. Ancient Heaven Ritual recorded in Chinese historical books were superficially recorded from the perspective of foreigners, and while the meaning of Heaven Ritual was insufficient to convey, Heaven Ritual has been interpreted as a symbol of national independence, a national ritual at the level of governance, a an agricultural ritual, and a folk festival. In addition to the recognition of the existing Heaven Ritual, research results based on the excavation results of archaeology in the Liaodong(遼東) and Liaoxi(遼西) regions in Northeast Asia and the records of Korean Sundo(韓國仙道) history books have recently emerged, revealing the original form of Northeast Asia's Sundo Heaven Ritual(仙道祭天). Representatively, the remains of Hongshan Culture(紅山文化, 4500 B.C. to 3000 B.C.) based on the Liaoxi region, ancient altar in the Cheonpyeong(天坪) area of Mt. Baekdu(白頭) in Liaodong, and the stone mound altar⋅tomb, jade, stone tools excavated from the Xiaonanshan(小南山) ruins in Heilongjiang Sheng(黑 龍江省) were confirmed to be relics related to Heaven Ritual. In addition, the meaning of Heaven Ritual was interpreted as a "practice ritual" of the Korean Sundo of unification of gods and human( 人合一) and at the same time having a festive character. The deities of Heaven Ritual that appeared in these relics were enshrined in Mago(麻姑), Hwanung(桓雄), and Ungnyeo(熊女) in the Baedalguk(倍達國). Mago, which symbolizes the life energy of the source, gradually disappeared from the deity of Heaven Ritual due to the decline of practice culture after the Dangun Joseon(檀君朝鮮). Records show that since the Goguryeo(高句麗), the national anchester gods symbolized by the national founder and his wife or mother have been memorialized together in Heaven Ritual. Starting with the aforementioned Ungnyeo, goddess symbolizing the queen or mother of the national anchester were enshrined in the ancestral rites. They had the character of a national mother goddess who governed the country together with the national founder and upheld the sacred will, and this tradition was inherited by Dongmyeng(東明) and Lady Yuhwa(柳花夫人) of Goguryeo, Dongmyeng, Gutae仇台 and Soseno(召西奴) of Baekje(百濟), Park Hyeokgeose(朴赫居世) and Alyeong(閼英) of Silla, and King Suro(首露) and Queen Heo(許王后) of Gaya(加耶). Currently, the main deities of Gangneung Danoje are Guksa Seonghwangsin(國師城隍神) and Guksa Yeoseonghwangsin(國師女城隍神), to which Daegwallyeong Sansin(大關嶺山神) is added. Guksa Seonghwangsin is set as Beomil Guksa(梵日國師), a monk from the latter days of Silla, while Guksa Yeoseonghwangsin is known as Lady Jeong(鄭 氏家女) of the Joseon(朝鮮) Dynasty, and Daegwallyeong Sansin is known as General Kim Yu-sin(金庾信將軍). In light of the origin theory that the origin of Gangneung Danoje is Goguryeo's Dongmaeng(東盟), Ye(濊)’s Mucheon(舞天), or ancient ancestral rites, there is a problem that the origins and deities of Beomil Guksa and General Kim Yu-sin of the Silla(新羅) and the Lady Jeong of the Joseonw Dynasty are inconsistent with the times. Therefore, we can see that the current Gangneung Dano je's Guksa Seonghwangsin, Guksa Yeoseonghwangsin, and Daegwallyeong Sansin are deities established later. Deities are an important factor in determining the purpose or nature of a ritual. The ancestral rite of heaven is the most representative practice and ritual of Korean Sundo since Hwanguk(桓國) and Baedalguk, and its purpose is the unification of gods and human . This paper presents the ancestral rite of heaven, which has been the core practice and ritual of Korean Sundo since Hwanguk and Baedalguk, as the origin of Gangneung Danoje, and presents Hwanung, th...

신라초 북부여계 파소·박혁거세의 단군조선 계승과 태백산의 마고제천 - ‘백두산 신시’를 이은 ‘태백산 신시’의 중창 -

정경희 ( Jung Kyung-hee ) 국제뇌교육종합대학원 국학연구원 2018 선도문화 Vol.25 No.-

Around the third century B.C. ~ the first century B.C., many dominant elites of Dangun Josun檀君朝鮮 migrated toward the Korean Peninsula and the Japanese archipelago during the disintegration process of Dangun Josun. Especially Princess Faso婆蘇 and her son Park Hyeok-geose朴赫居世 who came from North Buyeo北扶餘 royal family migrated to the Gyeongju慶州 branch in the south of the Korean peninsula and took control of ideological and religious initiative through the ‘Sundo Heaven rituals(Mago Heaven rituals)’ at the ‘Mt. Sundo仙桃’s Heaven rituals Altar祭天壇 and Heaven rituals Shrine祭天廟. With this, they succeeded in the consolidation of the six villages and opened Saroguk斯盧國, at last became the central nation of the Jinhan辰韓 Federation. In Sundo’s historical awareness, the reason why Dangun Josun was pushed to the Chinese Han漢 was that the value of China(Yin and Yang theory) had flowed into Dangun Josun and had broken down the traditional values(The idea of the five natural elements of the three dimensions三元五行論) of Dangun Josun. According to this recognition, Faso and Park Hyeok-geose expressed their vigilance and defense consciousness to Chinese Culture and declared strong will to protect Dangun Josun’s Sundo Culture. ‘The idea of Dangun Josun’s Sundo Reconstruction’ was conceptualized as ‘the theory of Budo符都 Reconstruction’. ‘Budo’ means ‘the center of Sundo thought’. At this time, Dangun Josun was not only a dimension of ‘territory and politics’ but a dimension of ‘ideology and culture’. It was the theory of Dangun Josun’s ideological and cultural identity Restoration. It was different from ‘Dangun Josun’s old territory Restoration’. The key issue of the Sundo Reconstruction policy pursued by Park Hyeok-geose was the Rebuilding of ‘Mt. Taebaek太白’s Shinshi神市(Heaven rituals Altar)’, which inherited ‘ Mt. Baekdu白頭’s Shinshi.’ Mt. Taebaek which is connected to Mt. Baekdu(Mt. Samshin三神山(the holy mountain of Sundo) of Dangun Josun), was designated as new Mt. Samshin of the Jinhan Federation. The Rebuilding of ‘Mt. Taebaek’s Shinshi was the symbolic event showing a new development of Mago Heaven rituals spreading in the Jinhan Federation at the time. Mago Heaven rituals at Mt. Taebaek’s Shinshi, which was expressed the direct succession of Mt. Baekdu’s Shinshi, led to deep empathy for refugees of Dangun Josun. It served as a central cause of the union of the Jinhan Federations and led Saroguk to stand firmly as the ruler of the Jinhan Federations.

통화 만발발자 제천유적 추보(追補) 연구: 『통화만발발자유지고고발굴보고』를 중심으로

정경희(Jung, Kyung-Hee) 한국유라시아연구원 2020 유라시아문화 Vol.3 No.-

This paper is a supplementary study that sheds light on the changes of ‘Wanfabozi萬發撥子 relic’ according to the periods by adding 『Tonghua Wanfabozi Site Archaeological Excavation Report』 to my previous study on Wanfabozi relic. During the early 1st period of Wanfabozi(4000B.C.∼3500B.C., early Baedalkook倍達國), the huge scale stone mound altar·tomb, i.e., ‘the three-layered circular altar with attached square altar(3層圓壇·方臺)’ that captured the symbolism of Samwon三元(Cheon天·Ji地·In人, Won圓·Bang方·Gak角), a key element of Sundo仙道 ideas, was built. Its owner was King Ung-nyeo熊女君, a competent good leader who transformed ‘Totem Ung熊 people’ society into ‘Heavenly Maek貊 people(Hwanung桓雄 people + Ung people)’ society by accepting the advanced Sundo culture brought by Hwanung people in early Baedalkook. During the 1st period of Wanfabozi(4000B.C.∼3000 B.C., early and middle Baedalkook), in contrast to the huge scale of ‘the three-layered circular altar with attached square altar’, the traces of concise and plain ritual procedure showed the starting point of the Sundo Heaven Ritual culture, which is faithful to the basics and the essence of the Sundo without any unnecessity. In the 2nd period of Wanfabozi(the 13th century B.C.∼the 8th century B.C., late Dangun Josun檀君朝鮮), there were only two main and secondary temples for Heaven Ritual on a part of ‘the three-layered circular altar with attached square altar’. The framework of the Sundo Heaven Ritual culture, which was established in the 1st period, was maintained. In the 3rd period of Wanfabozi(the 8rd century B.C.∼the 3rd century B.C., late Dangun Josun), the Sundo Heaven Ritual culture was formalized and complicated, and even the hierarchical tendency that had never existed before was formed. In the midst of the division and disintegration of the Maek貊 society in late Dangun Josun, the Sundo Heaven Ritual culture was also being secularized. In the 4th period of Wanfabozi(the 3rd century B.C.∼the 3rd century, early Goguryeo高句麗), the Sundo Heaven Ritual culture, which had been flowing in the direction of secularization, had been arranged in order again and had taken a new phase of stability. These changes were coincided with the mood of the times that the founding of Goguryeo brought a new stability to the Maek society. During the 5th period of Wanfabozi(the 3rd century∼the 5th century, middle Goguryeo), the noticeable point of change in Wanfabozi were just the miniaturization of the Heaven Ritual facilities and the reduction of ritual space. These points show that the status of the Sundo Heaven Ritual culture in the Maek society was gradually weakening from this time on.

통화 만발발자 제천유적을 통해 본 백두산 서편 맥족의 제천문화(Ⅰ) - B.C. 4000~3500년경 ‘3층원단(層圓壇)(모자합장묘(母子合葬墓))·방대(方臺)’를 중심으로 -

정경희 ( Jung Kyung-hee ) 국제뇌교육종합대학원 국학연구원 2019 선도문화 Vol.26 No.-

In the 1990s, the chinese academic circles sought to find elements of Hungshan Culture(Ritual禮制 Culture, Pre-Shang先商 Culture) in Mt. Baekdu area according to ‘the Liao-ho river遼河 civilization theory - the Mt. Changbai長白 culture theory’. Especially they paid attention to the stone mound altar·tomb(the ancient altars) in Tonghua area, the west of Mt. Baekdu. Tonghua area was the center of Maek race(the chief race of Korean race)’s cultural domain, the west of Mt. Baekdu which has been populated and flourished since the late Neolithic period. The research on the ancient altars in the west of Mt. Baektu began in 1989 with the discovery of ‘the Liming黎明 altar’ in Tonghua, which received the attention of the chinese academic circles and the communist party of China and about 40 altar relics were surveyed or excavated until 1995. To the next step, based on these successful research results, the systematic and massive excavation on ‘the Wanfabozi altar’ in Tonghua was conducted during 1997~1999. The Wanfabozi relic was consisted of Heaven Ritual facilities, Residential facilities and Tomb facilities. Among them, Heaven Ritual facilities are the main facilities, and the remaining Residential facilities and Tomb facilities are the attached facilities of Heaven Ritual facilities. Heaven Ritual facilities continued from the late neolithic period(Baedalkuk倍達國) to Dangunjoseon檀君朝鮮 and Koguryo高句麗 period and it was consisted of ① the three-layered circular altar(the mother-son tomb) with attached square altar facility, ② the moat · two sets of Menhir · square altar · Shrine for Heaven Ritual facility. In this paper, the first facility was reviewed. The construction time of ‘the three-layered circular altar(the mother-son tomb) with attached square altar’ was B.C. 4000~3500. And the way that mother and son were buried together and the bear clay statue(Doung陶熊), jades and pottery with swastika excavated from the tomb showed that Bear熊 race(later Maek貊 race) in the late neolithic maternal society with bear-belief tradition, had embraced the advanced Heaven Ritual culture based on Sundo仙道 thoughts such as ‘Chun天·Ji地·In人(Circle·Square·Triangle)’ Thoughts(The idea of One-Three). These excavation results notices the change of research trend on the ancient history of East Asia, centering on liaoxi遼西 area since 1980s. Especially chinese scholars, according to ‘the Liao-ho river civilization theory-the Mt. Changbai culture theory’, have argued that Hungshan culture in Liaoxi area was spread to Liaodong遼東 area as well as Zhongyuan中原 area. But the excavation results of Wanfabozi altar shows that the typical Heaven Ritual culture based on Sundo thoughts was formed in Liaodong area and spreaded to Liaoxi area, and was in full bloom in Liaoxi area and again spreaded to Zhongyuan area. This is why the chinese official reports on Wanfabozi relic(State Administration of Cultural Heritage國家文物局’s) completely concealed Heaven Ritual facility.

태백산 일대 마을제당의 신격 변천 사례 연구

박지영(Park, Ji Young) 한국유라시아연구원 2021 유라시아문화 Vol.4 No.-

This thesis is a study of the process of the deity of village shrine in Mt.Taebaek area. The deity of the leading heavenly rituals in Northeast Asia was MagoSamSin, and it was transformed into SahmSung, DahnGun, SanShin(mountain-spirits), and Seo Nang in the future, so the process of the change was examined through a case study of village shrine around Mt.Taebaek. Numerous relics and relics excavated in the Liaoxi region of Northeast China in the early 1980s and leading historical recognition since the 2000s clearly reveal the identity of the leading heavenly rituals. In particular, it was revealed that the goddess of heavenly rituals was a goddess, or MagoSamSin, discovered at the Niuheliang Shrine in Hongsan culture. MagoSamSin, the deity of the Korean SunDo heavenly rituals, later led to worship and faith in SahmSung and DahnGun, the priests and military kings of heavenly rituals. The worship of SahmSung and DahnGun led to the worship of SanShin(mountain-spirits), along with the record that the SunDo heavenly rituals was held on the mountain closest to the heavenly place of the universe and that all the SunIn came down to the mountain and became SanShin(mountain-spirits). And as the SanShin(mountain-spirits) came down to the village, it was established as SeoNang, which has been handed down until now. As a result of studying the case of the deity change of village shrine in Mt.Taebaek, I confirmed that the same transformation process as the deity change process of SunDo heavenly rituals appeared. Due to the influence of Mt.Taebaek Mago heavenly rituals Stream, many village shrines were dedicated to MagoSamSin in Mt.Taebaek, even if it was changed to a different deity now, it could be seen that the original deity was MagoSamSin, and that again confirmed the actual case of the transformation of the deity of heavenly rituals, the capital.

요서지역 조보구문화~홍산문화기 마고여신상의 변화와 배달국의 ‘마고제천’

정경희(Jung Kyung-Hee) 고조선단군학회 2017 고조선단군학 Vol.36 No.-

요서지역 최초로 마고여신상이 발견, 마고제천이 시작된 곳은 흥륭와문화기 서랍목륜하 일대이다. 흥륭와문화의 후속문화인 조보구문화기에 이르러 이 일대의 마고여신상에서 척추선이 강조되고 백회혈이 표시되는 등 선도수행적 표현이 나타나기 시작하였고 조보구문화의 후속문화인 홍산문화기에는 선도수행적 표현이 더욱 분명해졌다. 흥륭와문화기 이래 홍산문화기에 이르기까지 서랍목륜하 일대는 마고제천이 시작되어 선도수행적 방향으로 변화 · 발전해간 마고제천의 초기 중심지였다. 홍산문화기에는 소조상 제작이 일반화되면서 소조 여신상이 널리 제작되었는데 반가부좌 상태로 양손으로 배 하단전을 감싼 모습이 나타났다. 이는 하단전에서 시작하여 중단전, 다시 상단전으로 생명력이 회복되어가는 선도수행의 과정을 표현한 것으로 당시 마고제천이 선도수행적 방식으로 깊어져간 모습을 보여주었다. 또한 홍산문화기 여신상에는 선도적 세계관인 仙道氣學까지 표현되었으니 3명의 여신이 합체된 형상의 ‘마고3여신상’, 또 인체의 3배 · 2배 · 1배 크기로 3구분된 총7기의 여신이 십자형으로 배치된 ‘마고7여신상’의 경우가 그러하며, 여기에서 홍산문화기 마고제천이 선도수행적 방식으로 깊어져가고 있었던 배경에 선도기학에 대한 진전된 인식이 자리하고 있었음을 알게 된다. 이렇듯 홍산문화기 마고제천이 선도수행적 방식으로 깊어져간 모습은 선도사서중 배달국시기 역대 환웅들의 ‘敎化 · 師道’에 의해 마고제천문화(선도문화)가 본격적으로 보급되어간 모습과 합치된다. 중국학계는 요서지역의 여신상 전통을 기본적으로 조상숭배로 바라보며 그 사상 · 종교성은 ‘샤머니즘’으로 인식하기에 여신상에 나타난 선도수행적 의미에 전혀 주목하지 않았다. 단지 좌법에만 주목, 기왕에 중국의 전통 정좌법으로 인식되어온 ‘궤좌’ 대신 ‘반가부좌’를 전통 정좌법으로 변개하였다. During Xinglongwa(興隆窪) Culture, the central area of Liaoxi area that the very first ‘Mago Goddess statues’ were excavated and Mago Heaven Rituals had started was just XarMoron River area. Toward Zhaobaogou Culture, the follow-up culture of Xinglongwa Culture, ‘Sundo-discipline marks’ in Mago Goddess statues such as spine mark and Baekoe meridian-point(百會穴) mark were indicated. Toward Hongshan Culture, the follow-up culture of Zhaobaogou Culture, these kind of marks were become more clear. From Xinglongwa Culture to Hongshan Culture, XarMoron River area was the initial pivot that Mago Heaven Rituals was started and changed into the direction of Sundo-discipline. During Hongshan Culture, as clay statues production was common, ‘clay Goddess statues’ were made widely. The most distinctive posture of clay Goddess statues was sitting with her legs half-crossed and with her hands around the bottom-Danjeon(the lower part of the abdomen). This posture is the indication on the process of Sundo-discipline recovering human’s vitality in order of the bottom-Danjeon, the mid-Danjeon(中丹田), and the top-Danjeon(上丹田). It shows that Mago Heaven Rituals of Hongshan Culture was changed and deepened into the direction of Sundo-discipline. Also in ‘clay Goddess statues’ of Hongshan Culture, Ki philosophy of Korean Sundo was indicated. Two exemplary cases were ‘Mago 3Goddess statues’ shaping a complex of three Goddess and ‘Mago 7Goddess statues’ that are arranged crosswise and classified into three categories of 3times-sized, 2times-sized and life-sized of human in Uharyang(牛河梁) Shrine(Goddess Shrine) remains. ‘Mago 3Goddess statues’ and ‘Mago 7Goddess statues’ shows Hongshan people’s understanding level on Sundo philosophy(Ki philosophy) and Mago Heaven Rituals which was heading deeper into the Sundo-discipline direction. Researching historical documents of Korean Sundo, the aspect that Mago Heaven Rituals in Hongshan Culture was heading deeper into the Sundo-discipline direction is a natural result that a line of Whanwoong(桓雄) of Baedalkook educated in Mago Heaven Rituals at the state level. On the other hand, chinese scholars interpret Goddess statues in Liaoxi area as the ancestor worship and understand a religious background as Shamanism. So they don’t attend Sundo-discipline marks of Goddess statues at all. Only attending sitting position, they alter the formal sitting position of ancient China from sitting on feet to sitting with legs half-crossed.

홍산문화 女神廟에 나타난 ‘삼원오행’형 ‘마고7여신’과 ‘마고 제천’

정경희(Jung, Kyung-Hee) 비교민속학회 2016 비교민속학 Vol.0 No.60

홍산문화의 기반 문화인 선도문화의 요체는 우하량 단․묘․총 유적 및 총에서 출토된 옥기 유물과 같은 제천 유적․유물에 잘 나타나 있다. 이중에서도 특히 묘(여신묘)는 제천의 신격을 여신, 그것도 등신대의 3배․2배․1배 크기로 3구분되는 총7구의 여신으로 표현하는 바, 홍산문화시기 선도 제천의 성격을 명확하게 보여주는 선도문화의 시금석이다. 우하량 여신묘는 십자형 구조였으며 여신상 또한 등신대의 3배․2배․1배 크기로 3구분된 7여신상이 십자형으로 배치되고 있었는데, 이러한 십자형의 의미는 선도기학적 세계관인 ‘삼원오행론’에 잘 나타나 있다. 선도 전통에서는 모든 존재의 본질이자 우주의 근원적인 생명력인 일기․삼기의 ‘물질화(현상화)’ 과정을 신화의 방식으로 표현하는 전통이 있어왔다. 곧 일기․삼기를 ‘마고여신(하느님․삼신, 마고․삼신할미)’으로 표현하고, 또 이러한 일기․삼기가 분화하여 물질화(현상화)하는 과정을 마고가 궁희․소희를 낳고 다시 궁희․소희가 4천녀․4천인을 낳아 4천녀․4천인의 단계에 이르러 기․화․수․토로 이루어진 물질계(현상계)가 만들어지는 것으로 표현하였다. 여기에서 마고, 궁희․소희, 4천녀와 같은 여신(‘마고 7여신’)은 물질계를 이루는 4대 원소인 기․화․수․토의 보이지 않은 차원, 곧 물질화 이전의 단계에 대한 상징임을 알게 된다. 또한 일기․삼기(마고)의 분화 과정은 ‘입체 十字形’, 또는 ‘입체 球形’의 형태로 표상화되었다. 이것이 ‘마고신화’이며 선도기학적으로는 ‘삼원오행론’으로 개념화된다. 이러한 마고신화(삼원오행론)의 ‘마고7여신’이 여신묘의 7여신으로 나타났으니 여신묘의 7여신을 ‘삼원오행형 마고7여신’으로 이름해보게 된다. 이러할 때 여신묘의 ‘마고 7여신’이란 보이지 않는 생명氣의 차원일 뿐 물질(현상) 세계에서의 구체성을 지닌 특정의 인격신이 아니며, 따라서 여신묘에서 행해진 제천의 본질도 우주의 근원적 생명氣과 사람속의 생명氣의 합일을 추구하는 천인합일(신인합일, 인내천)의 수행임을 알게 된다. 반면 중국학계는 홍산문화를 중국문화의 원류로 인식, 여신묘나 여신신앙에 대해서도 후대 중국 왕조의 천인분리(신인분리)적 제의 체계나 제의 방식을 투영, 천인합일(신인합일, 인내천)과 정반대의 해석을 하였다. 여신묘나 단․묘․총은 물론 홍산문화 전반에 대한 연구가 한단계 깊어지기 위해서는 선도문화, 특히 그 본질인 천인합일(신인합일, 인내천)에 대한 이해가 선행되어야 할 것이다. The key of Sundo仙道 Culture, the cultural foundation of Hungshan Culture(Baedalkook倍達國) is the remains and relics of ‘Sundo Heaven rituals 祭天’ like Altar壇․Shrine廟․Tomb塚 and jade tools. Especially the godship of Shrine(Goddess Shrine) in Uharyang牛河梁 remains is 7Goddess clay statues that are classified into three categories of 3times-sized, 2times-sized and life-sized of human. These 7Goddess accurately show the character of Sundo Heaven rituals in the period of Hungshan Culture. Goddess Shrine of Uharyang is the cruciform building and 7Goddess statues are arranged crosswise. The meaning of these cruciform symbol is written in the idea of the five natural elements of the three dimensions(三元五行論), the core theory of Korean Sundo. In Sundo tradition, the differentiation(materialization) processes of One Ki氣-Three Ki, the primal Ki of the cosmos used to be symbolized to myth.[Mago myth]. That is to say, One Ki-Three Ki is symbolized to ‘Mago goddess’. And the differentiation(materialization) processes of One Ki-Three Ki into ‘Ki氣․ fire火․water水․earth土, 4 elements of the material world is symbolized that Mago goddess gives birth to 2 daughters, Gung-hee and So-hee and Gung-hee and So-hee give birth to 4 daughters, 4 heavenly maid. These 7Goddess, i.e. Mago․Gung-hee and So-hee․4 heavenly maid is just the symbol of the pre-differentiation(materialization) stages of the material world. In addition, the differentiation(materialization) processes of Mago is represented to cubic globular shape and a plane figure of it is cruciform.[the idea of the five natural elements of the three dimensions三元五行論] These 7Goddess of the idea of the five natural elements of the three dimensions are nothing but 7Goddess of Goddess Shrine. Thus we can understand that ‘Mago 7Goddess of Goddess Shrine’ is only invisible and primal Ki of the cosmos, not a personal God and the essence of Sundo Heaven rituals in Goddess Shrine is Sundo practice pursuing for the unification of primal Ki of heaven and inner Ki of human, i.e. ‘Unification of heaven(God) and human天人合一’. On the other hand, Chinese scholars misread Sundo Heaven rituals in Goddess Shrine as ‘Separation of heaven(God) and human天人分離’ conversely.

한국선도의 지감·조식·금촉 수행 전통으로 바라본 ‘선교’의 제천수행

조채영 ( Cho¸ Chae Young ) 국제뇌교육종합대학원 국학연구원 2021 선도문화 Vol.31 No.-

Korean SunDo regarded the beginning of all the existences as ‘Ki’. And it had the world view that this phenomenal world had been made by movement of ‘Ki’. In order to have the world view of ‘Ki’, we have to be able to feel ‘Ki’, So in Korean SunDo, the discipline to feel ‘Ki’ was prior to the thought and valued very much. Therefore Korean SunDo’s discipline is called ‘Ki discipline’, on which Korean SunDo culture is based. SunDo scripture _SamIlShinGo_arranged Korean SunDo discipline as ‘JiGam·JoShik·GeumChok’. The most representative discipline of Korean SunDo is the heaven ritual. Lately the fact that the godhead of heaven ritual had been ‘Ki’ and its character had been discipline was revealed by relics and remains of HungShan Culture in Liaoxi area of China. SunGyo, a national religion also has the same world view with Korean SunDo, counting discipline a lot. The discipline of SunGyo is also ‘Ki’ discipline, and it follows JiGamㆍJoShikㆍGeumChok discipline of Korean SunDo tradition. Its representative discipline is the heaven ritual called ‘ChunJe(天祭)’, of which the godhead is ‘BulGwangHaNeuNim’. ‘BulGwangHaNeuNim’ manifests itself in 3 figures-BulGwangShinMyungㆍ BulGwangShinBulㆍBulGwangSunIn which respectively mean ‘Ki’ the real substance of being, the divinity that ‘Ki’ exists within humans and historical persons SunIn(仙人, SunDo master) who united the one and the other through discipline. That the divinity meaning an individual’s vitality is included shows the heaven ritual of SunGyo is the discipline for divine-human unity. Thus the character of ‘ChunJe(天祭)’ is discipline. The concrete discipline methods of SunGyo such as JeolSuHaeng(bowing discipline), BulGwangHwalBub, BulGwangSungEon are all ‘Ki’ disciplines for divine-human unity. So far the discipline of SunGyo can be accounted as that of modernized type of Korean SunDo inherited.

신라 ‘나얼(奈乙, 蘿井)’ 祭天 유적 연구

정경희 진단학회 2013 진단학보 Vol.- No.119

This study is on the relics of Naeol(Naeul奈乙, Najung蘿井), the highest Sodo(蘇塗, the sacred place of Korean Sundo) of Silla noted for the first king Park-Hyeok-Keose(朴 赫居世)’s birthplace and the national shrine site for Heaven(天). The present writer has studied these relics with a viewpoint of Sundo Culture[Park Culture, Chunson(天孫) Culture] and has concluded that these relics is the facilities for Heaven rituals(祭天). The principal facilities among the relics of Naeol are ① the first facilities: the kind of the column to Heaven(天柱) about B.C. 2C, ② the second facilities: the round shape shrine for Heaven during the reign of King Soji(炤知) in A.D. 5C and ③ the third facilities: the octagonal shrine for Heaven during the reign of King Munmu(文武) in A.D. 7C. Notwithstanding the differences of periods these facilities have the same ceremonial symbol as the facilities for Heaven rituals. The first facilities, the kind of the column for Heaven in the very middle of Naeol Sodo symbolizes a sympathy with Heaven or Park(‘the light') from Heaven. The concrete form of it is assumed wood column like sacred tree or Sotdae(the wood column to Heaven), stone column, or masonry altar for Heaven. It is just the source of sanctity of Naeol Sodo. Afterwards the column for Heaven is succeed to the central column(心柱) of the second facilities, the round shape shrine for Heaven. Also the central column of the second facilities is succeed to the central column of the third facilities, the octagonal shrine for Heaven. Although the facilities of Naeol Sodo has changed several time, the sanctity of Naeol Sodo is always the column to Heaven or the central column of the shrine for Heaven. Needless to say the symbolic meaning of these columns is ‘Heaven' or ‘Park(‘the light') from Heaven'. 본고는 신라의 시조왕 박혁거세의 탄강처이자 신라의 국가신궁터로 널리 알려진 신라 최고의 소도‘나얼’ 지역의 유적들을 한국 상고 이래의 ‘하늘(天)문화=밝(光明)문화=선도문화=천손문화’의 관점으로 접근, ‘祭天’ 시설물로 분석해낸 연구이다. ‘나얼’ 유적 중 신라시대의 주요 시설물들인 ① 제1차 시설: 기원전 2세기경 天柱類, ② 제2차 시설: 5세기 소지왕대 원형 신궁, ③ 제3차 시설: 7세기 문무왕대 팔각형 신궁은 시간 차이에도 불구하고 기본적으로 동일한 제의적 상징을 갖는다. 제1차 시설, 곧 선도의 신성 공간인 소도의 중심부에 설치된 천주류 시설은 ‘하늘(天)’ 또는 하늘에서 내려오는 ‘빛(밝음)’과의 교통을 상징하는데 구체적 형태로는 神樹나 솟대류의 木柱, 石柱, 積石제천단 등을 생각해볼 수 있다. 천주류 시설은 나얼 소도에 부여된 신성성의 출발점이 되었다. 곧 천주류 시설 중심부의 천주자리가 제2차 시설인 원형 신궁의 心柱자리가 되었고 제3차 팔각형 신궁 시설에서도 비록 심주의 위치는 다소간 이동되었지만 제2차 신궁의 심주 형태를 답습하여 구덩이를 파고 그 위에 심주를 올렸다. 3차에 걸쳐 시설물이 변화해가는 와중에도 나얼 소도의 신성성의 중심은 언제나 천주, 또 천주를 계승한 신궁의 심주, 곧 ‘하늘(천)’ 또는 하늘에서 내려오는 ‘빛(밝음)’이었다.