조선시대 포은 후손의 경남 동부지역 이거 양상 연구

정경희(Jung Kyung-hee) 포은학회 2014 포은학연구 Vol.13 No.-

This study is on the migration of Poeun(圃隱)'s descendants from western Gyeongsangnam-do(慶尙南道) to the eastern Gyeongsangnam-do during the late 17th and 18th centuries in Joseun Dynasty. In the 15th century Seolgok(雪谷) Jung Bo(鄭保), the grandson of Poeun Jung Mongju(鄭夢周), was forced to exile to Danseong(丹城) located in western Gyeongsangnam-do because of having criticized the usurpation of King Sejo(世祖). After that Poeun's descendants started to settle down in the localities of western Gyeongsangnam-do such as Hapcheon(陜川), Jinju (晉州) and Danseong(丹城). In the 16th century Poeun started to be venerated and his descendants came to be powerful and prominent. From the 17th century, the branch of Sir Limheon(林軒公系) founded by Limheon(林軒) Jung Sephil(鄭世弼) became leading nobility power in western Gyeongsangnam-do. Generally they tended to belong to military nobility such as Bukin(北人) Party and Nammyung(南冥) School. In the late 17th century Seoin(西人) and Noron(老論) Parties grasped political power, therefore, Bukin Party started to be divided and stagnated gradually. This affected to Poeun's descendants in the western Gyeongsangnam-do. Their status in military nobility was weakened and their academic and political discourses fell under the influence of Noron Party. In general stagnation of Poeun's descendants in western Gyeongsangnam-do, some of them migrated to eastern Gyeongsangnam-do. The branch of Sir Limheon migrated to Yangsan(梁山) and Haman(咸安), and the branches of Sir Sean(世安公系) and Sir Seryun(世倫公系), to Ulju(蔚州) and Gimhae(金海). Jung Doman(鄭道萬)'s family of the branch of Sir Limheon in Yangsan was central force of Poeun's descendants of the eastern Gyeongsangnam-do. They had produced a leader for national independence in Japanese colonial era and has been editing the tradition of unswerving loyalty(忠烈) of Yangsan in modern times. We can see that the tradition of unswerving loyalty inherited from Poeun to Seolgok and Limheon continues in modern times. 본고는 15세기 이래 경남 서부 합천ㆍ진주ㆍ단성 등지에 정착한 포은 후손들이 17세기 후반~18세기를 지나면서 인근의 경남 동부 양산ㆍ함안ㆍ울주ㆍ김해 등지로 이주해 간 양상에 대한 연구이다. 포은 정몽주의 손자인 설곡 정보가 세조의 왕위 찬탈을 비판하다 경상도 단성지역에 유배된 이후 그 셋째 아들 정윤관이 이곳에 정착하면서 포은 후손들의 경상도 지역 세거가 시작되었다. 16~17세기 포은이 사림세력의 절대적 추앙을 받으면서 포은 후손들이 재기하게 되는데, 경상도 지역에서 는 정윤관의 손자이자 병마절도사를 지낸 임헌 정세필을 계파조로 하는 '임헌공계'를 중심으로 합천ㆍ단성ㆍ진주 등 경남 서부지역의 유력 사족세력으로 자리잡았다. 이들은 대체로 남명학파 북인계이자 무반 가문으로서의 면모를 보였다. 17세기 후반 이래 서인-노론의 집권으로 경상도 지역의 북인계 세력은 침체 국면에 놓이게 된다. 당시 임헌공계의 경우 정세필의 증손인 합천의 '정욱계' 및 단성ㆍ진주의 '정훤계' 양대 계열이 중심이 되고 있었는데 무반 가문으로서의 면모가 현저히 감손되었고 학문이나 당색 면에 노론화하는 경향이 나타났다. 이러한 분위기 속에서 인근 경남 동부지역으로 옮겨가는 세력이 생겨났으니 임헌공계 중 함안ㆍ양산, 세륜공계 중 울주, 세안공계 중 울주ㆍ김해 등지로 옮겨간 경우가 그러하다. 특히 경남 동부 포은 후손의 중심세력인 양산 지역 임헌공계 정도만 계열에서는 일제시기 독립운동가를 배출하며 현대에는 일제시기 양산지역 항일독립운동의 전통, 또 고대 이래 양산지역에 면면히 내려온 충렬의 전통을 집대성하는 흥미로운 면모가 나타났다. 포은-설곡-임헌으로 이어지는 충렬의 가풍이 시대와 지역의 격간을 넘어 이어지고 있었던 것으로 바라보게 된다.

여말 학계와 『天符經』

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2009 선도문화 Vol.6 No.-

When we give chase to 『Chunbu-kyung』(天符經)』, first we get to encounter Kosung(固城) Lee`s family. The origin of Kosung Lee`s family studies was Lee-am(李암), a scholar of late Koryo dynasty. He had compiled a Korean Sundo history book like 『Taebaek-jinhoon(太白眞訓)』, 『Dangun-segi(檀君世紀)』. Although all teaching that does not conform to Confucianism was attacked since the founding of Confucianism state Chosun, Lee-am`s descendants of the fourth generation, Lee-mak(李陌) had compiled one of the most important Korean Sundo history book 『Taebaek-ilsa太白逸史』. As the confucian criterion had been strengthened in late Chosun dynasty, Kosung Lee`s family had to move to Pyungbook(平北) Sakju(朔州) region, and their studies had disappeared. When Confucianism had missed the role as the spirit of the times in the close of Chosun dynasty, their studies could revive again. In the end of 1890`s, Lee-gi(李沂), the member of Kosung Lee`s family and his follower Gye-yoonsoo(桂延壽) started to publish and write notes on Sundo history ooks stored in Kosung Lee`s family. They gathered to organize `Danhakwhe(丹學會)`. Since modern times Kosung Lee`s family contributed to the revival of Korean Sundo greatly. Like this Kosung Lee`s family since modern times, handed down many sundo books, among these books 『Chunbu-kyung』 was accounted very importantly. Lee-am`s sundo was propagated to Kosung Lee`s family first. On the other side it was propagated to scholars of the day through Lee-am`s school. Lee-am`s sundo was propagated to his follower Lee-sack(李穡). Lee-am and Lee-sack`s sundo was propagated to Dumoon-dong(杜門洞) scholars, i.e. Bum-saedong(范世東), Min-anbu(閔安富). Bum-saedong had compiled one of Korean Sundo history book 『Bookboo-yuegi北夫餘記』 and had written notes on 『Chunbu-kyung』. Min-anbu had handed down 『Chunbu-kyung』. Min-anbu`s 『Chunbu-kyung』 is very important because it is the only old book, more over the type of Gabgol-moon(胛骨文, inscriptions on bones and tortoise carapaces). With the exsistance of Min-anbu`s 『Chunbu-kyung』, we can know that the Nokdo-moon(鹿圖文, the letter shape of deer`s footprint)-typed 『Chunbu-kyung』 had appeard in the age of Sinsi-Baedal(神市倍達) and the Gabgolmoon-typed 『Chunbu-kyung』 had used jointly with it in the end of Dangun-chosun(檀君朝鮮). The Gabgolmoon-typed 『Chunbu-kyung』 had handed down to the age of Koryo dynasty.

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.

신라 나얼(奈乙, 蘿井) 祭天 유적에 나타난 “얼(井)” 사상

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2013 선도문화 Vol.15 No.-

This study is on the Sundo仙道 thought in the relics of ‘Naeol’, 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. In the theory of One-Three一?三論 or the theory of One-Three-Nine 一?三?九論, the core onthology of Korean Sundo, One Ki氣(Chun天? Ji地?In人, Eol?Ul?Al, Haneol?Hanul?Hanal Three Ki三氣) is the substance of all being and the cosmic life particle that is originated from Heaven nearby the Big Dipper and the Korean language of it is ‘Eol’. Also ‘井’, the Chinese character marking of ‘Eol’ is the pictograph to express the creativity of ‘Eol’. Not only the name of ‘Naeol’ keeps the idea of Eol but also the facilities of it was constructed by the idea of Eol. The column to Heaven 天柱 in the first facilities about B.C. 2C, the central column心柱 of the round shape shrine for Heaven in the second facilities during the reign of King Soji炤知 in A.D. 5C and the central column of the octagonal shrine for Heaven in the third facilities during the reign of King Munmu文武 in A.D. 7C all symbolize a sympathy with ‘One Ki(Three Ki) or Eol’ from Heaven. Besides the octagonal shrine for Heaven in the third facilities symbolizes the ‘井’ character. Generally the octagon is considered Buddhist facilities, but the present writer indicates the idea of Eol as the constructing theory and the ceremonial instrument for Heaven rituals祭天 of Hungshan Culture紅山文化 in Baedalkook倍達國 period as the historical origin. According to the idea of Eol, one has ‘One Ki(Three Ki) or Eol’ in one`s body. So one advances ‘Sungtong(性通, Eol’s awakening)→Kongwan (功完, Eol`s practice after awakening)→Jochun(朝天, Eol`s revolution to the origin) through the process of the union of Heaven`s Eol and human Eol(天人合一 or 人合一) gradually. Because the core theory of Sundo discipline, ‘Sungtong→Kongwan→ Jochun’ is kept in the idea of Eol like this, the name of ‘Naeol’ can be understood as ‘Eol`s awakening’. Also we get to understand that the facilities of ‘Naeol’ sodo function to intermediate one`s discipline as the symbol of the union of Heaven`s Eol and human Eol.

NETWORK RECONFIGURATION ALGORITHM FOR AUTOMATED DISTRIBUTION SYSTEM BASED ON THE BEST-FIRST TREE SEARCH

정경희(kyung-Hee Jung),김호용(Hoyong Kim),고윤석(Yunseok Ko) 대한전기학회 1991 대한전기학회 학술대회 논문집 Vol.1991 No.7

요서지역 흥륭와문화기 마고여신상의 등장과 `마고제천`

정경희 ( Jung Kyung-hee ) 국제뇌교육종합대학원 국학연구원 2017 선도문화 Vol.22 No.-

Recently, Liaoxi area is emerging the core area in China`s Northeast Project. Among ancient cultures of Liaoxi area, in Baiyinchanghan白音長汗 site that is the Baiyinchanghan type of Xinglongwa Culture, `Stone Mound Tomb-Altar` and `Goddess statues` were excavated. These relics is the earliest case in Liaoxi area. Like as Altar壇·Shrine廟·Tomb塚 of Hongshan Culture(Baedalkook 倍達國) make one set, `Stone Mound Tomb-Altar` and `Goddess Statues` of Xinglongwa Culture make one set too. It shows that the Altar·Shrine·Tomb system, the essence of ancient cultures of Liaoxi area had originated from Xinglongwa Culture. For chinese scholars interpret Altar·Shrine·Tomb of Hongshan Culture as the ancestor worship, they interpret the circle-typed `Altar` around `Stone Mound Tomb` of Baiyinchanghan society as the ancestor worship too. But viewed in Mago Heaven Rituals of Hongshan Culture, Mago Heaven Rituals of Baiyinchanghan society was held in `Stone Mound Tomb-Altar` on the hill peak behind the village at the level of community faith and `(Mago) Goddess Statues` were enshrined in the house at the level of house faith too. In addition, Mago Goddess Statues of Hongshan Culture have a feature that they sit in the Sundo-discipline position(sitting with one`s legs half-crossed). On the other hand, Mago Goddess statues of Xinglongwa Culture have a feature that they all join hands and pray for the religious faith. It shows that Mago Heaven Rituals had started in a religious way at first. In contrast with Baiyinchanghan type of Xinglongwa Culture, Dragon- Phoenix symbol was excavated with remains for Mago Heaven rituals in Chahai査海 type of Xinglongwa Culture. Dragon-Phoenix symbol is the expression of the stage of `Unification of heaven(God) and human天人合一` emerging in the process of Sundo-discipline through Mago Heaven rituals. In historical documents of Korean Sundo, the only documentary records on ancient cultures of Liaoxi area, the succession process of Mago Heaven Rituals was explained well. These records suggest a long history and the big picture of Mago Heaven Rituals and show that the research direction on ancient cultures of Liaoxi area has to head toward coupling research with Korean Sundo and Korean folklore.

한국선도 수행으로 바라본 중국도교의 내단(內丹) 수행

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2012 선도문화 Vol.13 No.-

The basic ontology of Korean Sundo is the theory of One-Three-Nine (一·三·九論)[the theory of the five natural elements of the three dimensions(三元五行論)]. In this theory, it is considered that the substance of being is ``One Ki氣[Three Ki: Chun天(Information or Naught無·空), Ji地(Material) and In人(Energy)]``. It functions to harmonize with the separation and confrontation between Yin and Yang in the phenomenal(physical) world. The ``One Ki(Three Ki)`` of human is situated in the three hypogastric center(丹田) of human body, i.e. the lower hypogastric center, the middle hypogastric center and the upper hypogastric center and the core of them is the middle hypogastric center(heart). On the other side in the theory of the five natural elements of Yin and Yang(陰陽五行論) of Chinese Taoism, both the substance and the phenomena of being is Yin and Yang uniformly. In Neidan(內丹, Inner alchemy) discipline of Chinese Taoism, Yin and Yang of human is situated in the lower hypogastric center(Yin) and the upper hypogastric center(Yang). In comparison with Korean Sundo discipline, the weight of the middle hypogastric center(heart) is weakened. Consequently we can understand that Chinese Neidan discipline is the ``Yin and Yang discipline``, i.e. the two dimensions discipline, although it is professed for ``Jing(精)·Ki(氣)·Shen(神) discipline``, i.e. the three dimensions discipline. When the weight of the middle hypogastric center(heart) is weakened, the lower hypogastric center becomes the core of the discipline naturally. Because the completion of three hypogastric center has sequent order, in other words ``the lower hypogastric center→ the middle hypogastric center → the upper hypogastric center``. For Chinese Neidan discipline, centering around the lower hypogastric center, it causes the tendency of focusing on the function of the upper hypogastric center, operating inner Ki of human body, improving bodily powers, and weakening of social practice.

『부도지(符都誌)』에 나타난 한국선도(韓國仙道)의 일·삼론(一·三論)

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2007 선도문화 Vol.2 No.-

『Budo-ji符都誌』consists of two parts. The former part is the ontology and the historical view of Korean Sundo. The latter part is the origin of human history and Korean history viewing through the historical view based on Korean Sundo. According to the historical view of 『Budo-ji』, the age of Mago-sung麻姑城 that the progenitors of the human race had completed to their mission that is to maintain the order of the universe, was indicated to the ultimate model for human to pursue. The historical view to pursue the revolution to the age of Mago-sung could be called to the historical view of Bokbon(復本: the revolution to the root). In Korean Sundo, it has been conceived that ``One``(Il一: Oneness, the whole, God: 신) has an inclination to repeat endless periodicity of birth and death. Also 『Budo-ji』 has the theory on the periodicity, it is the theory on Sun-chun先天(the preceding periodicity of the being or the universe) and Hu-chun後天(the following periodicity of the being or the universe). When we investigate flows of Sun-chun先天 or Hu-chun後天 minutely, we can find out the fact that these periodicity is just the process of the three dimensions of the being or the universe, that is Chun(天: Information or Naught無·空 : Huh-dal-sung虛達城), Ji(地: Material : Sil-dal-sung實達城), and In(人: Energy : Ki氣 : Mago-sung麻姑城), is harmonized to revealed to the concrete being or the concrete universe. In 『Budo-ji』, the process that the three dimensions of the being or the universe is harmonized to revealed to the concrete universe or the concrete being, was divided into several stages. Also this process was explained with the theory on Ruh-Yul(呂律論) and the theory on Eum-Hyang(音響論). According to the theory on Ruh-Yul(呂律論), Ruh(呂) acts first, and then Yul(律) acts in the second place. As Yul(律) acts, the being or the universe can be revealed itself concretely. The acting aspect of Ruh(呂) was conceptualized to Eum(音) and the acting aspect of Yul(律) was conceptualized to Hyang(響). Therefore the theory on Ruh-Yul(呂律論) and the theory on Eum-Hyang(音響論) are different expressive methods about the same theory. In conclusion, Ruh(呂) or Eum(音) means the possibility of revelation to the being or the universe. Yul(律) or Hyang(響) means the consequence of revelation to the concrete being or the concrete universe. In 『Chunbu-kyung天符經』and 『Samil-singo三一신誥』, there is the original form of the theory on One-Three(一三論) of Korean Sundo. We can find just the same theory in 『Budo-ji』.

한국선도 수행의 실제

정경희 ( Kyung Hee Jung ) 국제뇌교육종합대학원 국학연구원 2012 선도문화 Vol.12 No.-

The basic ontology of Korean Sundo is the idea of ``One-Three-Nine (一·三·九論)``(the idea of the five natural elements of the three dimensions(三元五行論)). In this theory, it is considered that the substance of being is ``One Ki氣(Three Ki: Chun天(Information or Naught無·空), Ji地(Material) and In人(Energy)), God( , three gods(三)), Heaven(the Kingdom of Heaven), the Big Dipper``. It is the original cosmic energy, i.e. ``active vitality`` with the property of naught. The substance of being, ``One Ki``(``Three Ki``) starts to move and makes the material world, i.e. the phenomena of being which is composed of ``Nine Ki( Five Ki: Ki氣·fire火·water水·earth土·Chunbu天符). Especially this theory focuses on the revolution of human because only human is considered to be able to revolve to the substance of being, ``cosmic One Ki(Three Ki)``. Although ``One Ki(Three Ki)`` is the substance of human, it is very hard to recognize. By receiving ``cosmic One Ki(Three Ki)`` from the Big Dipper, the disciplinant can be purified gradually and ``his latent One Ki(Three Ki)`` can be awakened. When the disciplinant request ``cosmic One Ki(Three Ki)`` with sincerity and trust from his ``middle hypogastric center(heart)``, ``cosmic One Ki(Three Ki)`` flows into the disciplinant and Susung-whagang(水昇火降: water Ki`s rising and fire Ki`s falling) happens in his body. With Susung-whagang, Five Ki are harmonized and finally three hypogastric centers are developed and completed. The developement of three hypogastric centers occurs simultaneously, but the completetion of three hypogastric center has sequent order, i.e. the lower hypogastric center→ the middle hypogastric center→ the upper hypogastric center. After all the pivotal point of Korean Sundo discipline is receiving ``cosmic One Ki(Three Ki)`` with sincerity and trust from the disciplinant`s ``middle hypogastric center(heart)``. Thus it can be said that two conditions of Korean Sundo discipline is ``cosmic One Ki(Three Ki)`` and ``the sincerity and trust from the disciplinant`s middle hypogastric center(heart)``. Korean Sundo`s Great Masters, Samsung(三聖:Whanin桓因·Whanwoong桓雄·Dangun檀君) had got united with ``cosmic One Ki(Three Ki)`` through sundo discipline and they has been identified with ``cosmic One Ki(Three Ki)`` in Korean Sundo tradition. Thus they can connect ``cosmic One Ki(Three Ki)`` to the disciplinant. After long stagnation of Korean Sundo since Dangun-Chosun(檀君朝鮮) period, it is fortunate for Korean Sundo which has been misunderstood as low-grade religion to revive and recover its original discipline form.

중국 ‘요하문명론’의 ‘장백산문화론’으로의 확대와 백두산의 ‘선도(仙道) 제천(祭天)’ 전통

정경희 ( Jung Kyung-hee ) 국제뇌교육종합대학원 국학연구원 2018 선도문화 Vol.24 No.-

The core of ‘the Liao-ho river civilization theory’, ‘Hungshan Culture(Ritual禮制 Culture, Pre-Shang先商 Culture) theory’ started as a historical theory on Zhongyuan中原 and Liaoxi遼西 region in the first place. It was gradually expanded to the east region of Liaoxi, Liaodung 遼東 and Korean peninsula. In this process, ‘the Mt. Changbai culture theory’ was emerged as the easting theory of ‘the Liao-ho river civilization theory’. The basic structure of ‘the Liao-ho river civilization theory’ is that the ethnic center is Manju people(prescribed as a Chinese people since Jin and Qing dynasty) and the cultural center is Chinese people excluding the primary status of Korean people in terms of ethnic group and culture. The genealogy of ‘the Liao-ho river civilization theory’, ‘Hungshan Culture → Xia Jia Dian Lower Culture → Shang Culture’ had broadened to ‘〔Hungshan Culture → Xia Jia Dian Lower Culture → Shang Culture〕 →(Yen dynasty·)Kija Chosun箕子朝鮮→Wiman Chosun衛滿朝鮮→ Four Commanderies of Han dynasty→Goguryeo·Buyeo→Balhae’. This genealogy is the extansion of the historical awareness focused on Shang dynasty, the basic historical awareness of ‘the Liao-ho river civilization theory’. According to this historical awareness, Goguryeo, Buyeo and Balhae as well as Yen dynasty and Kija Chosun were emphasized as a descendant of Shang dynasty. With this, Korean history was abolished from the root. As the starting point for all distortions by China is ‘Hungshan Culture(Ritual Culture, Pre-Shang Culture) theory’, the starting point for all correction of it is just ‘Hungshan Culture(Sundo仙道 Culture, Baedalkook倍達國 Culture) theory’. In the late 1990’s, chinese scholars began to apply ‘Hungshan Culture(Ritual Culture, Pre-Shang Culture) theory’ to the ancient altars that were found in the region of Mt. Baekdu to prove their ‘the Mt. Changbai culture theory’. At last, the two main centers of Sundo Heaven rituals Culture, Hungshan Culture region and Mt. Baekdu region has come into view and ‘the Liao-ho river civilization theory-the Mt. Changbai culture theory’ is exposed to error. Here we can understand that the tradition of Sundo Heaven rituals was diffused from Liaoxi to Liaodung since Hungshan Culture. According to history books of Korean Sundo, Sinsi神市(Mt. Baekdu region) and Cheonggu靑邱(Hungshan Culture region) were just the two main centers of Sundo Heaven rituals Culture during Baedalkook period. When chinese scholars got to know that they were unable to drive Mt. Changbai culture - especially ‘Mt. Changbai Faith’ to the chinese culture, they changed the center of ‘Mt. Changbai Faith’ to the shamanism of Manju people as the next best thing. And they advocated that the ‘Mt. Changbai Faith’ belongs to chinese culture because the shamanism of Manju people was changed to chinese Mountain worship(Ritual Culture) since Jin and Qing dynasty. But the shamanism of Manju people was not merely their inherent shamanism, just but a type of the universal Sundo Heaven rituals of northeast asia since Baedalkook period. In spite of ‘the Liao-ho river civilization theory-the Mt. Changbai culture theory’, China just got to meet Korean Sundo Culture.