日蓮宗 祖師像에 대한 考察

지미령(Ji, Mi-ryong) 불교학연구회 2011 불교학연구 Vol.28 No.-

일련종 승려였던 닛신 상인은 일련종으로부터 파문을 당한 후, 1436년 교토에서 혼포지를 개산했다. 이후 혼포지를 중심으로 전국 각지의 포교활동을 전개했다. 닛신의 포교활동은 일련종의 포교활동과 비교해 보다 적극적이고 타종교에 대한 배타성이 강했다. 본고에서는 논하고자 하는 혼포지 소장 닛신 상인상은 닛신의 가장 오래된 초상화로써 카노파의 시조 카노 마사노부가 그렸다고 전해지고 있으나 마사노부의 일련의 작품들과는 공통성을 찾기 어렵다. 닛신 상인상은 얼굴묘사에 있어 한화풍(漢畵風)으로, 신체는 야마토에(大和繪)적 묘사를 하고 있는데, 이는 본래 한화가(漢畵家)였던 마사노부가 어떤 식으로 야마토적 표현기법을 병용했는지 알 수 있는 부분이다. 또한 도상학적(圖像學的)으로 일련종(日蓮宗) 계열의 초상화임에도 불구하고 일련종 초상화 형식을 따르지 않으며 오히려 선종이나 정토종 초상화에 근접한 도상을 취하고 있다. 필자는 닛신상인상이 가지는 도상학적 특징을, 마사노부가 법화종 신도임에도 불구하고 주로 막부와 선승의 주문을 받아 생활한 에시(繪師)였다는 점에 주목했다. 한화가(漢畵家)였던 마사노부의 작품은 대부분 막부와 선승의 기호에 맞춘 것으로 혼포지 소장 닛신 상인상이 선종계열 초상화에 가까운 도상적 특징을 갖는 연유 역시 마사노부가 주로 막부와 선종계열의 초상화를 제작했다는 데서 찾고자 했다. 마사노부가 닛신 상인상 제작에 있어 가장 중요시 한 점은, 선승의 초상화에서 가중 중요한 요소인 “정신을 취한다”를 일련종 초상화에 대입해 닛신의 정신을 표현하고자 한 점이라고 할 수 있다. 즉 외양의 모습 속에서 정신이 잘 드러났을 때 비로써 닮았다고 말하는 중세 초상화의 가장 중요한 요소인 사실성과 닮음이라는 문제를 마사노부 식으로 접근한 것으로 풀이할 수 있다. 이는 결국 한화풍의 구체적 얼굴 묘사, 야마토에적인 신체묘사 및 찬(贊)이 닛신을 향한 존중과 내면적 이상 표현으로 연결된다고 할 수 있다. 마사노부는 사실과 닮음을 따로 떨어져서 생각한 것이 아니라 서로 상통하는 것이며 닛신 상인상을 통해 일련종 고승의 정신을 취하고자 한 것이다. When Nisshin who had been a Nichiren monk was excommunicated from Nichiren Buddhism, he founded the Honpou-ji Temple in Kyoto in 1436. After that, he was active in propagating over the country with a head Temple in Honpou-ji. His propagation was more positive and exclusive compared to the Nichiren Buddhism’s. The picture of Nisshin in Honpou-ji Temple, which is discussed in this thesis, is considered to be the oldest portrait of Nisshin and it has been said that it was painted by Kano Masanobu, the founder of the Kano school; however, it didn’t have something in common with his other works. By examining the face in the picture of Nisshin following the originally a Chinese-style, and its body in Yamato’s style, we can see how Masanobu, originally a Chinese-style painter, combined his original painting style with Yamato’s. Also, even though this was kind of a Nichiren Buddhism portrait from an iconographic point of view, it didn’t follow that form in the style and rather had iconography similar to the Sukkavati portrait. Here is what we have to focus on. This is that even though he followed hokke-shu, he was a painter whose paintings were completed at the order of Shogunate and Zen monk. In other words, even if Masanobu was originally a Chinese-style painter, most of his works were to their taste, and that is the reason why the picture of Nisshin in Honpouji Temple has a similar iconography to the Zen portrait. The picture of Nisshin shows that Masanobu put his idea ‘to embody the spirit’, which is the most important trait in the Zen portrait, into painting the portrait and tried to embody the spirit of Nisshin. Only when the spirit was well expressed in the picture, could it be said that the picture had the ‘reality and resemblance’, which was the most important factor in Medieval portraits. It is inferred that Masanobu followed this style. This means that specific description of the face in originally Chinesestyle, a body description and legend in Yamato-e’s painting style can be related to respect for Nisshin and the expression of internal ideal after all. Masanobu thought that reality and resemblance could not be considered separately but communicated with each other, and he intended to embody the Nichiren monk’s spirit through the picture of Nisshin.

일본 혼묘지소장 사명당 유정 관련 유물에 관한 일고찰

지미령(Ji Miryong) 문학과언어연구회 2018 문화와 융합 Vol.40 No.3

16세기에서 17세기 초에 걸쳐 발발한 3차례의 왜란과 호란은 한국의 역사에 있어 중요한 사건들 중의 하나이다. 이 시기에 활약한 인물들 중 한 명이 사명당 유정이다. 사명당 유정에 관한 연구는 한일 양국에서 여러 방면에 걸쳐 연구가 이루어져 왔다. 유정에 관한 연구들은 주로 사명당 유정의 생애와 사상을 포괄적으로 조명하고, 사명당의 외교교섭에 관한 연구가 중심이 되어 진행되었다. 이들 연구들은 임진왜란이라는 전쟁사를 통한 대외교섭에 기반을 두고 있다고 볼 수 있다. 이외에도 강화사로 일본에 건너간 유정의 역할을 불교문화사적 교류나, 막부와의 정치외교사적 교류의 시각으로 다가간 연구들과, 유정의 강화교섭과 관련해 주변의 인물들에 대한 연구가 소개되고 있다. 본 논문은, 유정과 관련한 연구 중 그 논의가 활성화되지 못했던 유정관련 유물에 대한 일련의 논의들을 다루고자 한다. 본 연구의 주요 테마인 일본 구마모토현 혼묘지(本妙寺)는 유정을 비롯한 조선관련 유물을 총 35점 소장하고 있다. 유정과 관련한 유물로는 액자 1점, 고문서 4점이 전하고 있고, 나머지 유물의 대부분은 혼묘지 3대 주지인 니치요와 관련한 서간물과 서적이다. 본고는 이들 유물 중 ‘발성산(發星山)’ 제작과 관련한 일련의 논의들을 살펴보았다. The event of Japanese and Xing Invasions occurring in the 16th century and the early 17th century was one of epoch-making events in Korean history. One of people who worked during the periods is Samyeong-dang (Revered Buddhist Monk) Yu Jeong. The studies on Samyeong-dang Yu Jeong have been conducted in the two countries Korea and Japan, at many directions. The studies on Yu Jeong have been being conducted, with the main focus on the researches about Samyeong-dang Yu Jeong s foreign negotiations, shedding light on his life and idea, broadly. Those studies and researches can be considered on the basis of foreign negotiations of Japanese invasion against the Joseon Dynasty (what s called Imjinwaeran) starting to occur in 1592. In addition, there have been studies and researches approached about the roles of Yu Jeong who visited Japan as the peace treaty mission, from perspectives of Buddhist-cultural interchanges, or political and diplomatic relations with the Bakufu, and about people around him, regarding his peace treaty. In this regard, this research study is going to deal with many discussions about relics related to Yu Jeong that have not been actively had- even if there have been a great deal of study and research in relation to him. Honmyoji Temple, Kumamoto Prefecture, Japan, as the main theme of the research study exhibits total 35 collections of relics in relation to the Joseon Dynasty including ones in relation to Yu-Jeong. Relics in relation to Yu Jeong have featured as a collection of picture frame and four collections of classical literature books, and most of the rest of relics are collections of letters and books related to Nitziyo, one of three major Buddhist chief monks of Honmyoji Temple. The study investigated many discussions about the production of Balseong-san among those relics.

일제강점기 복제영장 연구

지미령(Ji Miryong) 한국문화융합학회 2021 문화와 융합 Vol.43 No.5

Mokpo has developed similarly to the other portal cities since it opened a port in 1897. The Japanese who lived in Mokpo reproduced Japanese religion and folk beliefs in Joseon for their public work and religious life. One of the representative forms of the Japanese faith in Joseon was the Pilgrimage Reproduction, which was established mainly between 1910 and 1930. The Shikoku Pilgrimage of Yudalsan Mountain, which will be discussed in this paper, was one of the pilgrimages created as part of the faith and religious activities of the Japanese who lived in Joseon. In Korea, these Pilgrimage Reproductions have been observed in about 50 locations. At least two to three and dozens of Buddhist statues have been found for each of the sites, and the number will increase even more if the individual collectors are included. Firstly, having looked at the Yudalsan Mountain Shigoku Pilgrimage characteristics, it is difficult to regard the Yudalsan Pilgrimage Reproduction as a pure Shingon sect of the faith of Kobo Daishi (88 Shigoku pilgrimage). Unlike the other regions involved in the process of creating the Yudalsan Mountain Pilgrimage Reproduction, the Pilgrimage Reproduction introduced to Mokpo is suspected of involving the sharing of economic profits with the Japanese Buddhist sects and believers. Besides, religious conflicts with Joseon Buddhism (Dalsungsa temple, Gwaneumsa temple, etc.) and the local folk beliefs found in Yudalsan Mountain have been influenced by some acceptance. The Pilgrimage Reproduction built on Yudalsan Mountain was hardly regarded as pure folk beliefs like the Japanese pilgrimage. For example, while the Pilgrimage Reproduction in Gunsan was built around the temple’s followers (especially women), Yudalsan Mountain had the characteristics that showed the statues were erected and originated by the Japanese people in other regions, including the residents of Mokpo and commercial facilities. In other words, it is typical for a local influential Japanese (a man of substance) to take the initiative to form an economic community. In the Yudalsan Mountain Pilgrimage Reproduction, the local influential people and the residents of other regions carried out pilgrimages and made Buddhist statues.