고사기삼륜산전설(古事記三輪山傳說)의 일고찰 : 한일이동관계(韓日移動關係)를 중심으로

노성환 한국일어일문학회 1985 日語日文學硏究 Vol.6 No.1

한국에서 일본민속 연구의 현황과 과제

노성환 한국일본학회 2012 한국일본학회 학술대회 Vol.2012 No.02

논농사의 기능

노성환 慶北大學校 農業開發大學院 2002 最高農業經營者課程 論文集 Vol.8 No.-

노토반도의 한국계 신사에 관한 일고찰

노성환 한국일본어문학회 2013 日本語文學 Vol.57 No.-

本稿は日本の石川?能登半島における韓國系神社に?する考察したものである。能登の神社の 8割は渡?系といい、また比古, 比?が付いている神社は例外なしに韓國系といわれているが、未だにその??はあまり知られていない。このゆえ筆者は2013年2,3月にかけて2回に現地調査を行った結果、神話の資料は貧弱であったが、神社名や祭神名を通じて、ある程度把握することができた。それを簡?に整理すると次のようである。一つ目は新羅系として珠洲市と能登町の白山神社, 田鶴浜町の白比古神社があり、二つ目は 伽倻系には中島の唐島神社, 川尻の荒石比古神社, 穴水町の加夫都彦神社, 美麻奈比古神社, 美麻奈比?神社, 奈古司神社, 草野?社などがある。そして三番目高句麗系としては珠洲市の古麻志比古神社, 中島の久麻加夫都荒加志比古神社などがあげられる。それから四番目は加夫都彦神社のように、伽倻と新羅が合わされた所もあり、また久麻加夫都荒加志比古神社のように高句麗, 阿羅伽倻, 大伽倻勢力が一?になった所もある。このように能登には新羅, 伽倻, 高句麗の文化が幅?く根付いていた。ところが百濟系はまったく見られない特徵を持っている。これは恐らく能登が韓半島における西部を中心に?達した百濟としては接觸が難しい所であると同時に、百濟の滅亡以後、日本に定着した百濟系の移住民たちが能登に進出しなかったと思われる。

朝鮮通信使와 日本端午

魯成煥 한국일본문화학회 2007 日本文化學報 Vol.0 No.33

신라왕자 아메노히보코의 신격에 관한 연구

魯成煥 한국일본문화학회 2009 日本文化學報 Vol.0 No.40

일본신화 속의 고대한국

노성환 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.16

According to 『Kojiki (古事記』)와 『Nihon Shoki (日本書紀)』, rulers had been sent to the ground twice from Gocheonwon(高天原.) One was Susanoo's myth and the other was Ninigi's myth. It is not too much to say that these two forces play a pivotal role in the Japanese mythology. Generally, the former is also called Izumo (出雲) myth, and the latter Hyuga (日向) myth. Korea has been deeply involved in both cases. Izumo (出雲) cycle was the one who crossed the sea from Shilla and settled down in the Izumo province. They worshiped mythical figures, Susanoo and Onamuji, as their ancestors. Whereas Hyuga (日向) cycle was the one who crossed the sea from Kaya and settled down in the Kyushu province. They worshiped mythical figures, Amaterasu and Ninigi, as their ancestors. Both forces ruled over different regions and established their own powers, so that there had been no conflict at the beginning. However, two forces went into a war and the Izumo cycle was defeated. As a result, Hyuga cycle exercised dominion over Izumo cycle who just had to withdrawn from the power force. It is believed that their power struggle didn't reached an amicable settlement, and that the remnants of the Izumo cycle had put up a stiff resistance. The two forces had been completely united under the rule of Jimmu, the first Emperor of Japan, when Jimmu and Iskeyori got married. Jimmu, descendent form Hyuga (日向) cycle, got married to Iskeyori, daughter of Ohomononushi who was the leader of Izumo cycle. As a result, next emperor of Japan might be the descendant of both Hyuga and Izumo cycles. Against this backdrop, the previous translation by the Japanese that their marriage could mean the establishment of royal authority between the conqueror and the original settlers might not be true. Rather, it could mean that Susanoo cycle (Izumo) and Amaterasu cycle (Hyuga), who had been hostile to each other under the Japanese mythology system, combined and formed a new power. At the same time, it could mean that the Kaya force had absorbed the Shilla force and created the Imperial Family of Japan.

조선의 김덕성과 일본의카츠시카 호쿠사이의 비교연구 -雷公圖와 文昌星圖를 중심으로-

노성환 한국일본언어문화학회 2019 일본언어문화 Vol.48 No.-

. “A Study on the comparison of Kuixing in paintings between Kim Duk-sung and Hokusai Katsushika” presents the comparative analysis between Kim Duk-sung’s “God of Thunder” and Hokusai’s “Moon Chang-sung”. Although the two paintings have different titles, the common elements; a posture of raising one leg and looking up into the sky with a brush in the right hand and an ink bottle in the left hand. shown in the paintings show that they modeled the Chinese Kuixing. Kuixing is a universally unknown god for both Korea and Japan. The reason why the two painting got different name was because Hokusai confused Kuixing as a god of Moon and the Japanese introduced Kim Duk-sung’s painting as a god of thunder. There are two distinct differences between the two paintings. The first is how to express inhumanity. Kim Duck-sung revealed the characteristic of inhumanity, emphasizing the abnormal head and the whites of the eyes. Hokusai, on the other hand, accentuated through the red skin and the animal’s fingertips. The other difference is the movement of Kuixing. In Kim’s painting, Kuixing is holding a brush and a bowl and staring up to the sky, while Kuixing in Moon-Changdo is looking up at the constellation. This study contains the similarities and differences of these two paintings and further notes the feature distinguished from China.

對馬の領土意識からみた韓日關係

魯成煥 慶尙大學校 日本文化硏究所 2001 日本學報 Vol.- No.8

日本의 月見 民俗에 관한 研究

노성환 단국대학교 일본연구소 2011 일본학연구 Vol.33 No.-

A Study on Tsukimi Folk Custom in Japan Tsukimi(月見; Moon-viewing) refers to the Japanese tradition of holding parties to view the Harvest moon on August 15th on the lunar calendar. Japanese people were hesitant to view the moon alone and willing to enjoy every changing phase of the moon. They gave specific names to each of the moon phases according to the moon rising time since August 14, a day before the full moon, and tend to pair up the full moon of August with the moon of September 13. Through the moon-viewing, they used to imagine that there lived Wolinjangja(月人壯子), Kagua-hime, Akariyanija and Brothers-Gone-to-the-Moon. Meanwhile, as the people predicted the agricultural abundance through the moon-viewing on the day, this event was a significant seasonal custom of agriculture. The day also represented the traditional holiday for people to pray for an abundant harvest of rice farming. Such proofs can be clearly found in the offerings of dango and taro for the moon goddess. As time elapsed the offerings changed. However, the taro was never missing in an altar beyond time. As an alternate name for the mid-autumn full moon is the Taro-Full-Moon(Imo-Meigetsu; 芋名月), taro is an indispensible staple food among the offerings. It means that this seasonal custom of agriculture originated from the harvest ritual of farm produce. And this day was also the preliminary festival to pray for an abundance of rice farming. Where people finished rice-harvest they expressed gratitude by offering rice. On the other hand, people wished for a bounty of rice where they did not finish rice-harvest. As above mentioned, Tsukimi custom represented not only harvest ritual of farm produce, but also the preliminary festival to wish for an abundance of rice. And on this day the Shintos of Hachiman(八幡) denomination held a memorial worship service for the deceased souls of no family as seen in fish release ceremony. And humans, goblins and animals enjoy together on the day. On the day, village children stole and ate the offered food to the moon goddess in other families and village people enjoyed tug-of-war, sumo and a circle dance. Meanwhile, Gappa as a goblin living in the water was capering over river and mountain. And especially a racoon out of animals transformed itself to deceive humans on the occasion, or tapped its stomach, sing and play under the moon light. Likewise, Tsukimi folk custom of Japan provided people with enjoyment of nature, prediction of agricultural crops, unfolding of mythical imagination and pleasure of dance and play.