日本에서의 한국문학 연구현황과 전망(2)

罔山善一郞 중앙어문학회 2006 語文論集 Vol.34 No.-

일본에서 전개된 기악(伎樂) 복원 작업에 대한 고찰

임혜정 ( Hye Jung Im[hye Jong Im] ) 한국음악사학회 2016 한국음악사학보 Vol.56 No.-

Gigaku (伎樂) was introduced to Japan by Mimaji (미마지) from Paekje (百濟). It has also been disconnected in Japan during Edo era (江 戶 時代, 1603-1867). Hayashi Kenzo (林謙三) was the first musicologist who attempted to restore the gigaku tradition in Japan since 1960``s. As a result of his continuous work, gigaku play was restored through music and scholastic papers. In this paper, I gave more focus on the historical records that he mainly referred from. Restoration of the gigaku performance in Japan, have been made in several directions including masks and the material artifacts. Some of which have been settled out recreating a concert repertoire for the modern world. The gigaku restoration mainly performed in three different view points. The first gigaku restoration project was attempted by the musicologist Hayashi Kenzo. As a result of his research project, the instrumental music of the gigaku was reconstructed in 1960``s and they were remained in recording. While he was reconstructing the music of gigaku, he mainly focused on the historical event that happened hundreds of years ago between Japan and Paekje (百濟). Considering the fact that the gigaku play was introduced by Paekje people, he thought the music should be based on the komagaku (□樂). He particularly picked ch’ijo (徵調) mode from komagaku. He reconstructed nine pieces by reviewing old scores like Sinch’anakbo (新撰樂譜), Hoejungbo (懷中譜)』, Injiyorok (仁智要錄), and Kiakbo (妓樂譜). He named nine pieces from Gigaku including Saja (사자), Okong (오공), Kumgang (금강), Karura (가루라), Kollyun (곤륜), Yoksa (역사), Paramun (바라문), Taego (대고) and Ch’wiho (취호). His restored nine musical pieces were not played in the restored gigaku performance in real, because he was mainly focused on the restoring the exact music from the old scores. As a second movement, gigaku restoration was attempted by the Buddhist temple in 1980``s. This project was based on the concept that the gigaku play was mainly associated with the buddhist ritual. In 1980, the restored gigaku performed by kagakubu (雅樂部) from Tenri Taigaku (天理大學) to celebrate Todaiji``s successful remodeling project (東大寺昭和大修理落慶法要). The biggest difference between Hayashi``s and Tenri Raigaku``s work was the composition of the music. Tenli dagaku``s restoration throughly focused on the actual performance of gigaku on the stage unlike the Hayashi``s work. Based on the successful restoration of the gigaku performance, Tenli Taigaku composed a new gigaku Samjang pobsa (三藏法師)’ by the request from Yaksasa temple (藥師寺). Samjang pobsa played at Yaksasa temple every year. Different from the former two reconstruction project, kyogen actor Nomura Manozo (野村万之丞) also tried to restore the gigaku play under the concept that the gigaku was the traditional performing Arts in pan-Asia. He nearly recreated new-gigaku (眞伎樂) by mixing the traits from the various Asian country``s mask play. Gigaku restoration projects from 1960``s achieved some successful result in Japan. Some of the successfully restored pieces are keep playing on the stage (sometimes at the temple) even now. Considering the position of gigaku occupied in the Asian traditional performing art history (including Korea), the case of Japan will be considered as important in the restoration work of the traditional performance of different countries.

일본의 『三國遺事』 연구동향과 과제

이석환 한국동서철학회 2019 동서철학연구 Vol.0 No.92

This paper describes the current state of the Japanese research on Samgukyusa. Samgukyusa, a document which allows us to understand society, culture, life, historical views, and the Buddhist view of the time, has been mostly studied as a single document in various fields of humanities in Korea. Therefore, this paper primarily examines the present condition of the block book of the Samgukyusa. And later, it describes how the Samgukyusa was studied in Japan by dividing it into two categories: a category of literature, translation and linguistics; and a category of history and philosophy. The result is as follows. First, research has advanced in the whole field of humanities. Much research has been advanced, especially in fields of history and language, philosophy, mythology and fables. Second, many Korean research results are being introduced in Japan. The Special Edition of the Ajiakouron(『アジア公論』), The Special Edition No. 169 of Ajiayugaku(『アジア遊学』), and The Study of Journal of Indian and Buddhist Studies show the direct or translated research results of Korean researchers. However, since the research is centered on mainly history and philosophy, it is necessary to introduce the results of research in the language field to Japanese academia. Thirdly, the existing Samgukyusa in Japan, which reside in Tenri University, Hosabunko(蓬左文庫) and Kanda(神田), were seized during the Japanese invasion in 1592 or the Japanese Colonial Period. In particular, the collection of the Tenri University’s facsimile edition of Samgukyusa is the main text of the study and its comparative research based on the facsimile edition was conducted in both Korea and Japan Currently, Samgukyusa, which is the research subject of researchers, is studied mainly based on the facsimile edition. Through the facsimile edition and printed books we can understand the thought and the historical contents, but the facsimile edition alone cannot confirm the corrections, brushstrokes, and calibrations of the originals. Therefore, the original domestic and foreign documents have to be confirmed and secured for empirical research such as the comparison and contrasting of Samgukyusa. In addition, in order to utilize and inform various contents of the tribal remains, it is necessary to conduct fusion research between research systems in all the field of humanities. 본 논문은 일연의 저서인 『삼국유사』가 일본에서는 어떻게 연구되었는지에 관하여 살펴본 논문이다. 『삼국유사』는 당시의 사회, 문화, 생활, 역사관, 불교관을 볼 수 있는 문헌으로서 인문학의 다양한 분야에서 단일문헌으로는 가장 많이 연구되었다. 따라서 본 논문에서는 『삼국유사』의 판본현황을 살펴보고, 일본에서 『삼국유사』가 어떻게 연구되었는지에 관하여 문헌학과 번역학, 어문학의 측면과 역사 · 철학의 두 카테고리로 나누어 고찰했다. 그 결과는 다음과 같다. 첫째, 인문학분야의 전분야에 걸친 연구가 진행되었다. 특히 사학과 어학, 철학과 신화와 설화의 분야에서 다수의 연구가 진행되었다. 둘째, 한국의 연구성과가 다수 일본에 소개되고 있다. 『아시아공론』의 특집기사와 『아시아유학』의 169호 특별판, 『인도학불교학연구』의 기사 등을 살펴보면, 한국 연구자들의 연구결과를 직접 소개하거나 번역하여 제시하고 있다. 그러나 역사철학 분야의 연구가 주를 이루고 있기 때문에 어학분야에서의 연구결과를 일본학계에 제시할 필요가 있다. 셋째, 일본에 현존하는 『삼국유사』는 임진왜란 또는 일제 강점기에 수탈된 것으로서 텐리대학과 호사분고, 칸다본의 임신본이 있다. 특히 텐리대학 소장본이 연구의 주요문헌이고, 영인본을 바탕으로 대조연구가 한일양국에서 진행되었다. 현재 연구자들의 연구대상이 되는 『삼국유사』는 영인본을 중심으로 이루어지고 있다. 영인본과 활자본을 통해 사상과 역사적인 내용은 알 수 있으나 영인본만으로는 원본에 있는 가필과 필사, 보사, 수정여부를 확인할 수 없다. 그러므로 『삼국유사』의 교감과 대교 등의 실증적 연구를 위해서는 국내외 문헌의 원본을 확인하고 확보해야만 한다. 또한 『삼국유사』의 다양한 컨텐츠를 활용하고 알리기 위해서라도 인문학 제분야의 학제간 융합연구가 필요하다.

凡父 金鼎卨의 日本 遊學ㆍ行蹟에 대한 檢討

崔在穆(최재목),鄭茶雲,禹沂楨 동아시아일본학회 2009 일본문화연구 Vol.31 No.-

신유학(新儒學)의 발전과 이색(李穡)의 역할 - 경원(敬遠)의 불교관과 용심(用心) 철학의 의미 -

류인희 ( In Heui Lyu ) 한국동서철학회 2005 동서철학연구 Vol.38 No.-