서평 : " 일연화된 설화 " 의 삶 읽기 , 문학 읽기 , 역사 읽기

허남춘 반교어문학회 1995 泮橋語文硏究 Vol.6 No.-

韓日古代神話의 山岳崇拜와 三山信仰

허남춘 한국일본근대학회 2009 일본근대학연구 Vol.0 No.23

日本では神樣が下降したり、渡來する山川が重要な儀禮處であったように、韓國でも古代祭儀の場所は``名山大川``である。新羅による統一の以前まで三山は大祀、五嶽は中祀、名山大川は小祀で祀られたのである。この神話體系と儀禮體系がつまり古代國家の支配理念とつながりがあるように見える。本稿では日本の天降神話と渡來神話のなかで神が山へ下降する天降神話に焦点を會わせて述べる。日本神話で、出雲系の神話から高天原系神話に變わった神話の文脈について地神系と天神系 神話の歷史的背景に關心を寄せ、大和國家建設の意味を探求したように、韓國神話で古代國家を建てた勢力がそれ以前の支配勢力とどのような差別的な文化を持っていたかを사いてみる必要がある。それとともに兩國で同じく現れている天降神話が古代國家を建設し、また維持するためには「天の權 威」を確保し、「支配の正當性」を續けさせるためにも「天祭」の文化的意味を調べなければならない。韓日兩國の天神祭儀の場合、建國主が天降した山だけではなく、重要な山には祭祀が重要視されている。新羅の場合、中國の中世普遍主義の文化を土台に國家的秩序を整備する前まで、三山五嶽に對する信仰が絶對的であった。もちろん神樣が海から川を沿って渡來することもあるから山川が全部重視した点も兩國の共通である。それで新羅では名山大川に對する祭祀が大事なことである。しかし、古代國家の建設期の主な祭儀は山岳である。新羅初期には三山に對する祭祀を大祀、五嶽に對する祭祀を中祀、名山大川に對する祭祀を小祀といい、日本でも香久山をはじめ、大和 三山, 畝傍山、耳成山の觀念があった。つまり、三山を理想とした思想が新しく成立する。そして日本の香春岳, かわらたけの三山信仰が新羅の豪族だった亡命客によって樹立され、これが日本の代表的信仰である八幡祭信仰へ發展したことからもわかる。韓國では古代國家の成立の支配理念については關心を寄せていない。しかし、日本の古代神話を硏究しながら韓日兩國の古代國家の成立に深く關與した古代國家の支配理念に對して確信を持てることになった。過去ほとんど意味がなさそうだった天神思想を主にした山神崇拜、祖先神崇拜の信仰が强力한な古代國家の成立のエネルギだった点を日本神話を通じてわっかた。

제주도 약마희(躍馬戱) 신고찰

허남춘 한국구비문학회 2019 口碑文學硏究 Vol.0 No.54

제주도 영등굿에서는 바람의 신을 맞이하는 과정에서 큰 대를 세운다고 했다. 이것은 신이 하늘에서 온다는 사유고, 한반도 전반에 그런 사유가 보편적이다. 그런데 제주도에서는 신이 바다를 건너온다고 사유한다. 바람의 신이 오는 방식이 제주에서는 天降에서 渡來로 바뀐 듯하다. 혹은 제주 고유의 사유(신이 강남천자국과 같은 곳에서 바다를 건너온다는 사유)가 한국 본토의 영향으로, 하늘에서 내려온다는 ‘천강(天降)’으로 바뀐 것일 수도 있다. 두 가지 사유가 혼요되어 있으나, 선후를 더 따져보아야 할 것이다. 영등굿에는 신을 즐겁게 하는 절차가 있다. 그것을 약마희(躍馬戱)라 했다. 말머리 모양의 나무에 비단으로 장식하여 논다. 이 놀이가 신을 즐겁게 하면, 신이 인간에게 풍요를 준다고 마을사람들은 생각한다. 바람의 신은 농업과 어업의 풍요와 연관된다. 신이 머무는 동안 신인동락(神人同樂)하는데, 요란한 장단에 광적인 춤을 춘다. 말 달리는 흉내를 내는 활력 있는 놀이였을 것으로 보는데, 말머리를 장식하고 노는 전통은 일찍 사라진 듯하다. 신을 즐겁게 한 후, 신을 돌려보낸다. 작은 배를 만들어 거기에 음식과 선물을 담아 띄워 보낸다. 배 혹은 떼배에 작은 배를 싣고 경주를 데 이를 배방송(배방선)이라 한다. 신을 맞이하고 함께 놀고 신을 돌려보내는 것으로 행사가 끝난다. 지금도 이런 풍속이 전해지고 있다. 이것은 오신(娛神)의 절차인 약마희와 달리, 송신(送神)의 절차인 배방송이다. 제주 바람 신에 대한 제사에는 신을 맞고 보내는 절차가 있다. 매우 정중하고 신을 위한다. 그런데 이것도 중요하지만, 제일 중요한 것은 신을 위해 인간들끼리 즐겁게 노는 절차 즉 오신(娛神)의 절차다. 신을 모시고 바라는 바를 기원하는 과정을 의례로 거행하지만, 정작 중요한 것은 마을 주민들 간의 유대 강화다. 함께 영등굿을 치루면서 한 해의 풍년과 풍어를 기원하면서, 동시에 마을 주민의 유대를 강화하고 공동체의식을 공고히 하였던 것이다. 그리고 자연의 순환를 중시하고 겨울에서 봄으로 가는 시기를 정해, 금채기를 정하고 ‘씨드림’을 하면서 자연의 질서에 순응하려는 태도를 보인다. 제주 사람들은 바다밭에서 무한정 얻길 기대하기보다는, 일정 기간 금채기를 두면서 바다밭을 경영하기도 했다. 영등철을 맞아 자연에 겸허하게 대응했던 마음이 읽힌다. 다시 ‘약마희’를 들여다보면서, 옛 놀이를 통해 공동체 의식을 회복하고, ‘인간과 자연의 교감’이 중시되길 기대한다. The Jeju people put up a large stand in a process meant to invite the God of Wind. This is believed to be the reason for the god’s arrival from the sky. Interestingly, people on Jeju Island also think that gods cross the sea. It seems unique for a god to come through the sea, and withdraw from the sky. This reasoning (that gods come across the sea) is specific to Jeju. Overall, the Korean Peninsula has many such mythologies. However, such a philosophy may be seen as strange by those under the influence of the Korean mainland. In Youngdeunggut (燃燈祭), there is a procedure for making fun with the gods. It is termed Yakmahye (躍馬戱). They decorate trees, style horses’ hair with silk ribbons, and play. If this play gives the god fun, the villagers believe that it will give fertility to human beings. The God of Wind is related to the fertility of agriculture and fisheries. The god and human beings get mutual enjoyment when the god comes and stays; they do a fierce dance and give a noisy performance. This playfulness produces the desire to imitate riding a horse. After entertaining the god, they send it back. They make small boats, sending them with food and gifts, and they race with small boats or rafts. The event ends after greeting the god, playing with the god, and sending the god back. This is still being conveyed. There was a procedure to greet and send a god, like the ritual for Jeju's Wind God. It was important to be very polite to the god. However, the most important thing was the process of humans playing with the god for fun. We hope to restore community awareness through old-fashioned play, and that the coexistence of humans and nature will be emphasized.

혜성가도솔가의 일원론적 세계관과 민심의 조화

허남춘 어문연구학회 2008 어문연구 Vol.56 No.-

There are many songs not to be easily above our apprehension in Samgukyusa.(三國遺事) It is difficult to approach with reasonable mind that a comet or a sun disappear because of singing a song. The basic principle is not enough to interpret if we conclude that these songs are incantation songs or religious mystery. Our ancestors are thought that an extraordinary calamity in the universe and nature is connected to an extraordinary calamity in human society from Ancient times to the Middle Ages. There was process to settle the dust that repulse Japanese invading army in Hesungga. To tell the truth, a crisis of Japanese invading army was settled by the power of Hwalang(花郞) to help King. An extraordinary calamity in the universe give a hint of a social misfortune and calamity, the same as appearance of comet give a hint of the appearance of Japanese army. Silla(新羅) peoples solved the problem of comet, and it resulted in solution of social crisis. The secret of success was Music(樂), and they believed that Music had a power for harmony of popular passion. Monism that act of God was related to a social phenomenon was the world view of Silla peoples. An extraordinary calamity that two suns appeared concerned with social confusion that two kings appeared in Dosolga. There is more than meets the eye in this song. The song contained complicated and inscrutable story. Originally two sun`s appearance meaned the natural disaster such as the ruin of farm work because of the sweltering heat of the sun. Silla peoples tried to solve the situation of crisis by assistance of Maitreya. Maitreya was not a symbol of Buddhism, but a symbol of dragon bringing about the rain. There was the thought that solved the calamity of fire by water. The late term of Silla, Maitreya was a symbol of Hwalang. So there was the thought that solved social calamity by capacity of Hwalang. The Ancient thinking on the impression of song changed to reign ideology in the Middle Ages. Also Choson dynasty`s Music was revealed same level in settlement and harmony of popular feelings. That was to be expected. Choson dynastic King took special treatment and management when extraordinary calamity in the universe happened such as thunder. King went for a way making delighted peoples throughout cutting down expenditure(foods), excluding Music, standing in awe of peoples, cultivation of one´s mind. I could find Monism that act of God was related to a social phenomenon in the Middle Ages. There are many songs not to be easily above our apprehension in Samgukyusa.(三國遺事) It is difficult to approach with reasonable mind that a comet or a sun disappear because of singing a song. The basic principle is not enough to interpret if we conclude that these songs are incantation songs or religious mystery. Our ancestors are thought that an extraordinary calamity in the universe and nature is connected to an extraordinary calamity in human society from Ancient times to the Middle Ages. There was process to settle the dust that repulse Japanese invading army in Hesungga. To tell the truth, a crisis of Japanese invading army was settled by the power of Hwalang(花郞) to help King. An extraordinary calamity in the universe give a hint of a social misfortune and calamity, the same as appearance of comet give a hint of the appearance of Japanese army. Silla(新羅) peoples solved the problem of comet, and it resulted in solution of social crisis. The secret of success was Music(樂), and they believed that Music had a power for harmony of popular passion. Monism that act of God was related to a social phenomenon was the world view of Silla peoples. An extraordinary calamity that two suns appeared concerned with social confusion that two kings appeared in Dosolga. There is more than meets the eye in this song. The song contained complicated and inscrutable story. Originally two sun`s appearance meaned the natural disaster such as the ruin of farm work because of the sweltering heat of the sun. Silla peoples tried to solve the situation of crisis by assistance of Maitreya. Maitreya was not a symbol of Buddhism, but a symbol of dragon bringing about the rain. There was the thought that solved the calamity of fire by water. The late term of Silla, Maitreya was a symbol of Hwalang. So there was the thought that solved social calamity by capacity of Hwalang. The Ancient thinking on the impression of song changed to reign ideology in the Middle Ages. Also Choson dynasty`s Music was revealed same level in settlement and harmony of popular feelings. That was to be expected. Choson dynastic King took special treatment and management when extraordinary calamity in the universe happened such as thunder. King went for a way making delighted peoples throughout cutting down expenditure(foods), excluding Music, standing in awe of peoples, cultivation of one´s mind. I could find Monism that act of God was related to a social phenomenon in the Middle Ages.

<원천강본풀이>의 시공간적 의미와 사유체계

허남춘 동국대학교 한국문학연구소 2021 한국문학연구 Vol.- No.65

This paper is about finding the meaning contained in the main character's journey. I would like to find the Oral Philosophy in Jeju Island's shamanistic myth. In the main character's journey, I discovered that there was no direct flight to the final destination of life. I found that life's goals can only be achieved after many stages. The main character's journey back from his destination is a process of rewarding those who helped him. This is the spirit of “punishment and reward.” This is in line with the spirit of the ‘Axial Age’-mercy and empathy. In addition, if the first half was a process of “depending on parents,” the second half is a process of “getting out of parents.” The main character shows the journey of finding his own identity alone. All beings with deficiency solve the problem. There is a lesson in this myth that you can get what you want if you give up your material desires or obsessive minds. They also say that you shouldn't just study, and that humans have the right to be happy in marriage. We pass through such easy problems, but it teaches us the wisdom that life changes when we remind each other. Our fate leaves open the possibility that if half is set, the other half can be changed. Finally, humans and animals and plants communicate and show each other a helpful relationship, the human world and the transcendent world communicate and solve problems. Man and nature are equal, and the world inside and outside are equal. In mythology, I find the answer to save mankinds, who have reached its limit by destroying nature. 이 논문은 오늘이의 여정 속에 담긴 의미를 찾는 작업이다. 제주도의 무속 신화에 담긴 구비철학을 찾아 우리 삶을 조명하고자 함이다. 원천강을 찾아가는 오늘이의 여정 속에서, 인생의 최종 목적지를 향하는 직행은 존재하지 않는다는 점을 발견한다. 인생의 목표는 여러 단계를 거쳐야 비로소 얻을 수 있다는 점을 보여주고 있다. 원천강에서 돌아오는 여정은 그 동안 신세를 진 존재들에게 보답하는 과정이다. ‘베풀고 보답하기’의 정신은 축의 시대에서 배태하여 인간의 위대한 덕목이 된 ‘자비와 공감’과 맞닿아 있다. 아울러 전반부가 ‘부모에게 의존하기’의 과정이었다면 후반부는 ‘부모에서 벗어나기’의 과정이다. 홀로 독립하여 자기 정체성을 찾아가는 여정을 보여준다. 결핍을 지닌 존재들은 모두 문제를 해결한다. 물질적 욕망이나 집착하는 마음을 버리면 바라는 바를 얻을 수 있다는 교훈이 있다. 공부만 하면 안 되고, 인간은 결혼해서 행복해질 권리가 있다고도 말한다. 이처럼 쉬운 문제를 우리는 스치고 지나가지만, 서로 일깨워주면 인생이 바뀌게 된다는 지혜를 가르쳐 준다. 우리 운명은 정해진 것이 반이라면, 나머지 반은 바꾸어 나갈 수 있다는 가능성을 열어두고 있다. 마지막으로 인간과 동식물이 소통하여 서로 돕는 관계를 보여 주고, 인간계와 초월계가 소통하며 문제 해결의 실마리를 제공한다. 인간과 자연 만물이 대등하고 안과 밖의 세상이 대등한 화합을 이루는 모습을 보여준다. 자연을 함부로 파괴하여 한계에 다다른 인류를 구원할 해답을 신화에서 찾는다.

세경본풀이 자청비의 휴머니즘적 성격 토론문

허남춘 제주학회 2019 제주학회 학술발표논문집 Vol.2019 No.1

제주 신화 속의 해양문화

허남춘 제주학회 2016 제주학회 학술발표논문집 Vol.2016 No.2

淫祠로 정의된 基層信仰의 實態 硏究

허남춘 성균관대학교 부설 인문과학연구소 2001 人文科學 Vol.31 No.-

고려속요와 민속

許南春 成均館大學校 國語國文學科 1987 成大文學 Vol.25 No.1

설화·전·소설에 수용된 제주 민중항쟁과 이재수

허남춘 반교어문학회 2002 泮橋語文硏究 Vol.14 No.-