산화(散花),직심(直心),좌주(座主)의 개념과 <도솔가(兜率歌)> 관련설화의 의미 고찰

황병익 ( Byeong Ik Hwang ) 한국고시가문화학회(구 한국고시가문학회) 2015 한국시가문화연구 Vol.0 No.35

<도솔가>를 하늘에 해가 2개 나타난 괴변을 없애기 위한 의식에서 부른 주술적 향가로 이해한 것이 보편적이다. 해가 둘이 나타난 것은 정치적 현상의 암시인데, ‘해’는 왕을 뜻하므로 현재의 왕에게 도전하는 반역세력이 등장했음을 뜻한다고 이해한 것이다. 그 결과 <도솔가>를 왕권에 도전하는 세력들로 인한 사회적 혼란을 막으려는 정치적 의도를 담은 작품으로 결론짓는다. 여기서 과연 한 시대의 왕이 왕권에 도전하는 세력으로 인한 정치적·현실적 어려움을 미륵불을 청해 기원하는 의식으로 극복하는 것이 최선이었을까 하는 의문이 생긴다. 이에 본고는 <도솔가>의 의례가 “누구를 향해”, “무엇 때문에”, “어떤 방식으로 치러진” 것인지, <도솔가>는 어떤 성격을 가진 노래인지를 명확히 하기 위해, 먼저 산화(散花)·직심(直心)·좌주(座主)의 개념을 밝히는데 집중하여, <도솔가>는 당시 환일(幻日)이라는 실제의 천문 현상을 정치현실의 긴장요소로 이해하여, 동요하는 민심을 안정시키려는 의도를 가지고 창작한 노래로 이해했다. 천변(天變)에 대하여 호국 경전의 가르침에 따라 허공에 꽃을 뿌려서 미륵불이 내려와 앉을 중앙의 높은 자리를 만들고, 구세주인 미륵불에게 설법을 청함으로써 혹 닥쳐올지 모르는 국가적 재난을 미연에 방지하려 한 것이다. 즉, <도솔가>는 경덕왕 당시 2개의 해가 불러올 수 있는 변고를 예방하기 위해 행해진 법요(法要)에서 다른 불·보살들은 주변에 늘어서게 하고 가운데 놓은 고좌(高座)에 미륵불을 모시어 국가적인 안녕과 무사를 기원하는 신라인의 집단적 염원을 담은 공양문(供養文)이다. 여기서 꽃은 주물(呪物)의 의미보다는 향(香)·등(燈)·차(茶)·과(果)와 함께 5대 공양 가운데 하나로 바친 것이다. 이상을 반영하여 <도솔가>를 풀이하고 의역하면, “오늘 이 자리에서 <산화가>를 부르면서,/(미륵불을 향해) 다급하게 사뢰는 (供養에 쓰인) 꽃이여! 너는,/(우리의) 진실 되고 곧은 마음의 청을 들어,/(華臺를 만들어) 미륵불을 (가운데에) 뫼시고 서 있으라!”와 같은 불교적 기원문이 된다. It has been common understanding that <Dosolga> was a ritualistic old korean folk song sung in the ceremony to remove strange incident of two sons appeared in the sky. Two sons are implications of a political phenomenon. The son means a king so it`s been understood that rebel forces to challenge the king appeared. As a result, <Dosolga> was concluded as the work containing political intent to prevent social unrest caused by forces to challenge the throne. Here question comes to mind that it was indeed the best way for the king of an area to surmount political and real difficulties caused by forces to challenge the throne by the ceremony of seeking and praying to the Maitreya Buddha. Hereupon, this paper is first focused on clarifying the concept of ‘sanhwa(散花)’, ‘jiksim(直心)’ and ‘jwaju(座主)’ to definitize “for whom”, “for what” and “how” the rite of <Dosolga> was held, and what kind of intent it had. According to it, <Dosolga> was understood as a written song with a intention to stabilize public unrest interpreting the real astronomical phenomenon of mock sun as the tensions of political realities. When there were extraordinary phenomena in the heavens, they made the high place in the middle that the Maitreya Buddha could settle strewing flowers into the air and asked the Maitreya Buddha`s sermon according to the teaching of the Patriots Scriptures. In other words, <Dosolga> was a Buddhist service oration to put the collective aspitations of people of Silla into for praying for national stability and safety with the Maitreya Budda in the high place of the center and other Buddhist saints arraying around when a Buddhist service to prevent a mishap that two sons could cause in an ere of King Gyeongdeok. Here flowers are offered as one of five offerings including incense, lamp, tea and fruits rather than offerings for service. Reflecting this and interpreting and paraphrasing <Dosolga>, it becomes Buddhist optative sentences like “Singing <Dosolga> right here today,/ you (to the Maitreya Buddha) hurriedly informing flowers (for offerings)./ Listing to (our) request of true and right-hearted mind /(making altar) stand with the Maitreya Buddha (in the center)!”

『삼국유사(三國遺事)』 ‘경덕왕(景德王) 충담사(忠談師)’ 조(條)와 <찬기파랑가(讚耆婆郞歌)>의 의미(意味) 재고(再考)

황병익(黃柄翊) ( Hwang Byeong-ik ) 한국어문교육연구회 2019 어문연구(語文硏究) Vol.47 No.3

본고의 논증과 해독 결과에 따라 1~4구는 敍景 표현에 숭상의 마음을 담았고, 5~8구는 수풀과 자갈 벌에서의 회상과 추종심리를 담았다. 9~10구는 잣가지에 견주어 숭고한 대상을 명료히 했다. “아름다운 사내를 (화랑으로) 뽑아, 도의를 연마하게 하고, 그 무리 중에 바르고 바르지 않는 이를 살핀 후, 착한 인재를 가리어 조정에 천거”하던 郞僧(화랑 소속의 승려) ‘충담사’가 기파랑을 찬양하여 당시 미륵으로 추앙하던 화랑의 본보기를 만들어 하나의 지향점을 제시함으로써 화랑집단의 결집을 강화시킴은 물론이고, 나아가 전제왕권과 귀족들의 유대 강화를 통하여 정치사회를 안정시키려는 목적을 가졌다. 경덕왕은 이 작품이 표현한 “기파랑이 지향하던 이상 세계가 높음(其意甚高)”을 익히 알고 있었기에, 왕과 충담의 마음이 이심전심으로 통했음을 알 수 있다. According to the results of the arguments and interpretation of this paper, the translation of < Changiparangga, Ode to Giparang > is as follows. As the rough water becomes calm, the moon appears. Chasing and floating after the white clouds, (it shines) on the water dividing the sandbank! The forest and the Sumonae[Ipcheon, 卄川] gravel field (are the places) where Giparang(耆婆郞)’s image is still vivid. There, we shall follow his will and ideals. Ah! (uncorrupt) Judgment(判定), you are the branch of the towering nut pine that even snow fall can not damage, Here, the “forest” is a training space for the Hwarang(flower knights, an elite warrior group of male youth), and “Hwapan(花判)” is an abbreviation for “Ohwapansa(五花判事)” which means “making good judgement about beauty and ugliness(beauty and ugliness, good and bad, right and wrong)”. When I refine the 9~10 lines, they can be interpreted as follows. “Just as the branch of a towering nut pine is not damaged when snow falls, Giparang, you are a man of great virtue who made good judgement about right and wrong with integrity and unyielding principles.” The 1~4 lines express the admiration for Giparang in the scenery descriptions(敍景), and the 5~8 lines describe the memories and reverence in the forest and the gravel field. The 9~10 lines compare him to the branch of a nut pine to show clearly how noble the subject is. Chungdam was a ‘Buddhist monk belonging to the Hwarang organization’(郞僧), who was choosing beautiful boys(as Hwarang), training them in the principles of moral justice, finding the right ones in the group, and recommending the good talents to the royal court. "Monk Chungdam gave a direction, praising Giparang and making him as a model figure of the Hwarang who were worshiped as Maitreya. By doing that, he intended not only to strengthen the bonds within the Hwarang, but also to make the society politically stable by strengthening ties between the absolute authority of the king and the aristocrats. King Gyeongdeok already knew “how lofty Giparang’s ideal world is”(其意甚高), what this song represents. It means that the king and Monk Chungdam thought alike.

「제망매가(祭亡妹歌)」의 의미 재고찰

황병익 ( Byeong Ik Hwang ) 한국문학언어학회(구 경북어문학회) 2014 어문론총 Vol.61 No.-

Until now has ‘次□伊遣’, the second line of “Jemangmaega” been understood as ‘be afraid of, hesitate’, which means hesitate and interpreted as fear or hesitation. Therefore, the first to four lines have been understood as describing affection toward his sister and anguish caused by her death. So much quizzical opinions have been raised about Buddhist monk Wolmyeongsa (月明師)’s fear and hesitation not being free from life and death. Based on the idea that the central meaning of ‘cha(次)’ is to follow as next order and ‘cha’ functioning as predicate in “be equivalent to Munsu(文殊)”, “be equivalent to know the law” of “Wongakgyeong-eonhae(圓覺經諺解)” or “Neungeomgyeong-eonhae(楞嚴經諺解)”, this paper reads this paragraph as ‘beogeurigo, beogeul-igo’ and understands it as expressing the universal principle of Buddhism about the eternal cycle of life and death. As a result, in “Jemangmaega” the first to second lines means the rotation principle of birth, old age, sickness and death, the third to fourth lines realizing farewell caused by sudden death, the fifth to eight lines sense of loss and brevity after separation and the ninth to tenth lines direction guidance for achieving enlightenment. The ninth to tenth lines express the eternal cycle of life and death, extreme love and obsession about parting, transience about death and transcendental directing point that gets out of anguish about afterlife, which emerges from first to eighth lines. The third to eighth lines are not narrator’s main emotion but premise to the universal principal of rotation. As “Jemangmaega” aims for the transcendental and ideal Buddhist Elysium not clinging to meeting and parting which made by momentary ties, it is right for the topic analysis of “Jemangmaega” to be focused on the contents of the ninth to tenth lines. Though he has mind which cherishes the memory of his sister and prays for the repose of her soul, he makes a resolution of devoting himself to the teachings of Budda more enthusiastically realizing the principle of rotation and the reason of life, which should be the keynote of analysis of character of work. “Jemangmaega” is one of the Buddhist masses for the soul of the departed which functioned like sutra chanting or Buddhist prayer in the Buddhist ceremony to send the soul of the dead to paradise for his dead sister.

역사와 문학 기반 향가 연구의 회고와 전망

황병익 ( Hwang Byeong-ik ) 한국시가학회 2018 韓國 詩歌硏究 Vol.45 No.-

향가 연구사 100년의 성과는 참으로 많아서, 역사와 문학은 물론 불교사상 연구에 이르기까지 광범위하다. 어학적 해독의 진전에 발맞추어, 향가의 정의와 개념, 작가에 관한 연구가 있었고, 3구6명의 형식, 내용 관련 연구는 물론, 수사론(修辭論), 미학적 연구까지 풍성한 성과를 거두었다. 그럼에도 불구하고, 앞으로의 향가 연구는, 첫째, 향가의 개념과 범위·정의를 좀 더 명확하게 해야 하고, 베트남·일본의 차자표기(借字表記) 시가(국어시國語詩, quocnguthi, 화가和歌, waka)와 연관하여 보편적인 시각 위에서 탐구해야 한다. 둘째, 역사·문학·불교사상은 물론, 의료 민속, 천문학 등 인접 학문 분야 연구 성과를 종합하고 융합하여 상호 보완적인 결론에 도달해야 한다. 셋째, 불교·호국 의례, 왕이 주재하는 국가 공식 행사 등 향가의 사회문화적 효용에 대한 거시적 안목을 가지고 고찰해야 한다. 넷째, 여러 학자들이 객관적인 입장에서 현재까지의 연구 성과를 종합 정리하여, 중등 교육 현장에서의 향가 교육을 업그레이드할 수 있도록 토대를 닦아야 한다. There are a great deal of achievements in the 100-year history of Hyang-ga research, which ranges from history and literature to Buddhist studies. In line with the progress of linguistic deciphering, there have been studies on the definition, concept, and writers of Hyang-ga. The research has accomplished much in the study of Three-Gu Six-Myeong(三句六名) form and contents, as well as in the study of rhetoric and aesthetics. Despite all the achievements, the following should be addressed in future research. First, the concept, scope, and definition of Hyang-ga should be clarified more clearly. In relation to Vietnamese and Japanese borrowed Chinese character(借字表記) poetry(Quocnguthi, 國語詩) and Waka(和歌), Hyang-ga should be studied from a universal perspective. Second, results of related studies in the fields of history, literature, Buddhism, medical science, folklore, and astronomy should be integrated and converged to draw complementary conclusions. Third, a macroscopic view of the sociocultural utilities of Hyang-ga in Buddhist ceremonies, memorial rituals, and official ceremonies held by the king should be considered. Fourth, scholars should summarize previous research findings from an objective point of view to lay the foundations for upgrading Hyang-ga studies in secondary education.

〈만전춘별사〉5연의 어휘 재고

황병익 ( Byeong Ik Hwang ) 한국시가학회 2004 韓國 詩歌硏究 Vol.16 No.-

『삼국사기』 유리왕 條와 〈黃鳥歌〉의 의미 고찰

황병익(Hwang Byeong-ik) 한국학중앙연구원 2009 한국학 Vol.32 No.3

〈동동〉 ‘새셔가만하얘라’와 〈한림별곡〉 ‘뎡쇼년(鄭少年)’의 의미 재론

황병익(Hwang Byeong-ik) 한국학중앙연구원 2007 한국학 Vol.30 No.4

〈혜성가(彗星歌)〉의 쟁점과 의미 고찰

황병익 ( Byeong Ik Hwang ) 한국시가학회 2005 韓國 詩歌硏究 Vol.17 No.-

『삼국유사(三國遺事)』"수로부인(水路夫人)" 조(條)와 <헌화가(獻花歌)>의 의미(意味) 재론(再論)

황병익 ( Byeong Ik Hwang ) 한국시가학회 2007 韓國 詩歌硏究 Vol.22 No.-

<도천수대비가(禱千手大悲歌)>의 재해석 : 일등사은사이고지내호질등사(一等沙隱賜以古只內乎叱等邪)의 의미를 중심으로

황병익 ( Byeong Ik Hwang ) 한국시가학회 2009 韓國 詩歌硏究 Vol.26 No.-