朝鮮朝 18세기 禪詩 硏究

다국어 초록 (Multilingual Abstract)

This study set out to investigate the patterns, features, and significance of the Zen poetry of Joseon in the 18th century with the anthologies of Cheongyeong Haewon(天鏡 海源), Mukam Choinul(黙庵 㝡吶), Yeondam Yuil(蓮潭 有一), and Inak Uichoem(仁岳 義沾).
One of the practice methods used by Buddha, Zen developed into sinicized Zen embracing enlightenment as well as the practice methods after Bodhi Dharma's arrival in China. Since then, the Zen ideology, which can be summed up with pointing directly at the minds of men, seeing the nature and achieving buddhahood, not establishing words and letters, and transmission from mind to mind that are the characteristics of the 6th patriarch Hyeneungzen(慧能禪), became universal and gave birth to Zen poetry characterized by paradoxical, transcendental, and illogical elements. Zen poetry dominated Tang and Sung Dynasty when Zen enjoyed its heyday. It then was transmitted to Goryeo along with Zen, and its full-blown creation started with Hyeshim(慧心). It was consistently created even throughout Joseon.
Joseon witnessed changes across its ideology and culture in the 18th century including post-Zhuxi studies and the natural abilities theory(天機論). During that time, the Buddhist community of Joseon witnessed the inheritance of Imjebeoptong(臨濟法統), the climax of studies of Buddhist doctrines and all sorts of Buddhist ceremonies, and the rich publication of Sagi(私記) and anthologies. Disciples of Cheongheo(淸虛) and Buhyu(浮休), Cheongyeong, Yeondam, Inak, and Mukam were the Zen priests, head lecturer, and active promoters of Buddha's teachings with poetry and prose in the 18th century.
Mukam and Yeondam injected vitality into the stagnant ideology of the Buddhist community by developing controversy over whether mind and nature were one or two different things while being smooth. They also pointed out the local unfairness by writing Pyejiso(『癈紙疏』), Bakjeongbulbulryeong(『駁正佛不靈』) and Sanghanreungjupilsujangseo(『上韓綾州必壽長書』) and criticized Confucian scholars for their wrongful opinions of Buddhism, setting forth their arguments for pro-Buddhism actively. Sagi by Yeondam and Inak had huge influences on the contemporary lecture field of their times. Inak had such a knack for writing poetry and prose including Bulbokjangmun(｢佛腹藏文｣), serving as master of the dharma of Yongju Temple. Cheongyeong presented the right Zen perspectives for Josa(祖師), Yeolae(如來), Ganhwa(看話), and Uiri(義理) Zen by speak and spoken with his Iseongyeongwuirok(『二禪涇渭錄』). He also poured tons of sweat into the edition and publication, was appointed as the 11th and 12th head priest of Daedun Temple along with Yeondam, and engaged in active exchanges with Confucian scholars with his broad knowledge of Confucianism. They all left anthologies.
During those days, there were two streams of Zen poetry creation; one was a focus on the pragmatic theory as a logic to deal with the reality, and the other was its creation as pure literature that valued poetic sentiments. Examined in the study, the Buddhist priests had a viewpoint of poetry and prose characterized by the unity of Zen and poetry and the pragmatic theory. the unity of Zen and poetry recognizes the same instrumental approach and poetic sentiments as Zen is presented in poetry and allows for a literary approach where the supernatural understanding of poetry and the awaken and entering of Zen are the same.
Cheongyeong exhibited an instrumental feature of the unity of Zen and poetry, which shows the middle way through concerning the dharma and employs Hwadu Zen as a practice method, and the supernatural understanding of poetic sentiments and pure travel poetry. In his poems in which the dedication poems and the borrowing rhyme poems with Buddhist priests accounted for the most parts, he personally chose Gongan for his poetic vocabulary in the form of a quatrain with five Chinese characters in each line, which makes one of the characteristics of his poetry and is attributed to his emphasis on the purification and the dharma-transmission within the scope of Buddha's teachings.
Mukam focused on the fundamental pragmatic theory of language, saying his poems were "Zen logic rather than poetry." The mind he sought after through Zen-Teaching and the full or empty taste were the results of his zen contemplations. And his extensive knowledge of Neo-Confucianism returned to the vow of helping each other(共濟). Thus his tone was stately in the poems in which he exchanged with Confucian scholars.
Yeondam made active use of the pragmatic theory. In his poems that talked about intention of Zen of entering from Teaching into Zen(由敎入禪), he fuse Hwaeom Ideology into Zen and interpreted Zen through Teaching studies, thus enabled Zen intuition. In his poems about affectionate remembrances, he expressed the sentiment of self-ridicule. but his unreserved and proud Zen taste shows that his self-ridicule derived from his ceaseless passion in search of truth and self-reflection and is manifested in the historical view of excluding Qing Dynasty, love for the people, and tolerance to embrace Confucian scholars, all of which came from the reconciliation of reward buddha(報佛). He also pursued truthful poems with realistic descriptions.
Inak called dharma nature(天然), and his combined practice of Zen-Teaching and the gradual cultivation theory were expressed in the naturalness that everything in daily life was truth. The natural abilities(天機) of Everything You Touch is True(觸事而眞) has Zen logic excluded in his poems and presents his expressions as a poet. In his poems about loyalty and love for the king and the praise for moral reform with the abundant usage of Confucianism-related poetic words, he tried to display his wish for a society where Confucianism and Buddhism coexist in mutual survival. In his poems in which he exchanged with Confucian scholars, he demonstrated his yearning for a life as a free man that was neither ruled by Confucianism nor bound to the distinction between Buddhist priests and common people.
The universal character of the Zen poetry of the period that developed in those patterns is the creation of "poems to let the readers know" and "poems to enable the Zen embodiment of Teaching" as the language of Zen Buddhism, which was represented by the impossibility to speak with words. The replying poems, which talked about glorifying Confucian scholars and making friends with them as intellectuals or pure poets, exhibited a logic to deal with the reality. The pure poems and travel poems, which can be categorized into the natural abilities theory trend, were born out of the influential relationships among the contemporary poetical circles. Another characteristics is the expansion of zen poetry in terms of topics and materials as individual Buddhist priests tried to express everything that was going on in their conscious worlds in poetry.
In their replying poems with Confucian scholars, they showed the aspects of bystanders by usually writing praise-centric poems and paying little attention to the suffering of people and the hardship of Buddhist monks, which reveals that Buddhism was not able to undergo changes corresponding to the social reform in the 18th century such as practical science. Despite such limitations, however, their works claim significance in the history of Zen poetry and as Buddhist historical materials for their use of free from Zen word, intuition, contemplation, figure of speech, topic diversity, and pure poetry and prose.

국문 초록 (Abstract)

이 논문은 朝鮮朝 18세기 禪詩에 대한 연구로 天鏡, 黙庵, 蓮潭, 仁岳의 詩文集을 대상으로 禪詩의 樣相과 性格, 意義를 고찰하였다.
붓다 당시 수행법의 하나였던 禪이 菩提達磨의 西來이후 修行法과 그 깨달음까지를 아우르는 중국화된 禪으로 전개되었다. 이후 六祖 慧能禪의 특징인 不立文字․敎外別傳․直指人心․見性成佛이라는 禪사상이 普遍化되고 이와 더불어 逆說的, 超絶的, 非論理를 특징으로 하는 禪詩가 발생하여 禪의 全盛期였던 唐宋시대를 풍미한다. 이 禪과 禪詩가 高麗에 전래되고 慧諶에서부터 본격적인 禪詩가 생성되어 朝鮮朝에서도 꾸준히 창작되었다.
朝鮮朝 18세기는 脫朱子學, 天機論 등 사상과 문화전반에서 변화가 일고 있었다. 당시 佛敎界는 臨濟法統의 繼承, 敎學과 각종 講會가 頂点에 이르고 私記, 文集 등이 다량 저술되었다. 天鏡, 蓮潭, 仁岳, 黙庵은 모두 淸虛와 浮休의 法孫으로서 18세기의 禪僧이자 講學의 首長이며 詩文으로써 불법의 弘布에 진력한 이들이다.
&#40665;庵과 蓮潭은 중생과 부처의 마음[心性]이 圓滿하지만 하나인지 다른지에 대한 논쟁을 전개하여 침체된 불교 사상계에 활력을 주었다. 또 <&#30280;紙疏>, <駁正佛不靈>와 <上韓綾州必壽長書>를 지어 紙役의 부당함을 지적하고 유자들의 불교에 대한 그릇된 편견을 비판하는 등 적극적인 護佛論을 개진하였다. 蓮潭과 仁岳의 私記는 당시 講學界에 큰 영향을 주었다. 仁岳은 龍珠寺 證明法師로 참여하였으며 <佛腹藏文>을 짓는 등 詩文에 능하였다. 天鏡은 <二禪涇渭錄>을 지어 能說과 所說에 의한 祖師禪과 如來禪, 看話禪과 義理禪의 바른 禪觀을 제시하였으며 경전의 편집 및 간행에 힘을 쏟았다. 연담과 함께 大芚寺 11. 12代 宗師로 入傳되어 있다. 儒學에도 博學하여 儒者들과 활발한 交遊를 하였으며 모두 文集을 남겼다.
이 시기 禪詩는 현실대응논리로서의 效用論이 강조되는 한편, 詩情을 중시하는 순수 문학창작이 성행하고 있었다. 본 연구 대상인 승려들의 詩文觀은 禪詩一如와 效用論으로 大別된다. 禪詩一如論은 禪을 詩로 드러내었기 때문에 一如한 道具的 접근과 詩情을 인정하여 詩의 神解와 禪의 悟入이 一如한 문학적 접근이 가능하다.
天鏡의 禪詩 樣相은 對法을 써서 中道를 나타내고 話頭禪을 그 수행법으로 한 도구적 禪詩一如의 모습과 應機接物에서 吟諷詠月하지 않고 華麗하지 않은 神解의 詩情과 순수기행시의 神解를 보여준다. 승려들과의 贈詩와 次韻詩가 대부분을 차지하는 시에서는 五言絶句의 형식으로 公案을 직접 詩語로 채택하고 있어 천경시의 한 특징을 이룬다. 이는 불법 내부의 自靜과 傳法에 역점을 둔 모습에서 기인한다.
&#40665;庵은 언어의 본질적 효용론에 중점을 두었는데 禪的 觀照를 통해 이루어진 禪 敎를 통해 궁구하였던 마음과 沖虛한 閑趣, 性理說에 대한 박학함은 선비들과의 교유에서 共濟의 願으로 회향되었다. 그래서 그의 유자와의 交遊詩는 당당한 어조를 띤다.
蓮潭의 도구적 효용론을 적극 활용한 由敎入禪의 禪旨를 읊은 시들은 華嚴思想을 禪으로 融化시켜 禪을 敎學的으로 풀되 禪的 直觀을 가능하게 하였다. 情懷를 읊은 시들은 自嘲의 情操를 보였으나 求道熱과 自己省察의 發露였음이 任運騰騰한 禪趣에서 드러났다. 이는 排淸의 역사관과 愛民, 그리고 유자를 섭수하는 포용으로 구체화된다. 모두 報佛의 和會에서 비롯되었던 것이었으며 사실적인 묘사로 진실한 시를 추구하기도 하였다.
仁岳은 法을 天然이라 하였는데 禪敎兼修, 漸修사상은 일상에서 접하는 모든 것이 眞이라는 자연스러움으로 표출되었다. 觸事而眞의 天機는 詩안에 禪理가 배제되어 있으며 詩人으로서의 發露이기도 하였다. 儒學과 관련된 시어들을 대거 사용한 임금에 대한 忠君과 思慕, 德化의 稱頌을 읊은 시들에는 모두 儒佛이 相生하는 사회를 꿈꾸는 願의 표출이었다. 유자와의 交遊詩에서는 승속을 떠난 자유인의 喝이였음을 보여주었다.
이러한 양상으로 전개된 이 시기 禪詩의 普遍的 性格은 言語道斷으로 대표되는 禪宗語가 사라져 ‘알게 하기 위한 시’와 ‘敎學의 禪的 體化’가 이루어진 시가 창작되었다는 것이다. 또 儒者에 대한 讚美와 지식인, 순수 시인으로서의 사귐을 읊은 酬答詩는 현실 대응논리로서의 성격을 가진다. 天機論的 성향이라 불릴 수 있는 순수시와 기행시들은 당대 시단과의 영향관계에서 비롯된 성격이다. 또 승려 개인의 의식세계에서 이루어지는 모든 것을 시로 표현하고자 하였기에 선시가 담아내는 주제와 소재의 범위가 확대된 것도 그 하나의 성격이다.
한편, 유자와의 酬答詩에서 讚美 위주의 시, 또 민생의 고통과 승려의 艱苦相에 그리 주목하지 않은 방관자적인 성격은 18세기 실학 등의 사회적 변혁에 불교가 상응하는 변화를 이루지 못하고 있었음을 보여주는 한계였다. 그러함에도 불구하고 脫禪語, 直觀, 觀照, 比喩의 修辭法, 主題의 多樣性, 純粹詩文의 창작 등은 禪詩史에서와 佛敎史料的인 측면에서 그 의의를 지닌다.

목차 (Table of Contents)

• Ⅰ. 序 論 1
• 1. 硏究目的 1
• 2. 先行硏究 및 硏究方法 5
• Ⅱ. 禪詩와 그 史的 槪觀 12
• 1. 禪詩의 特徵과 展開 12
• 1) 禪의 의미와 禪詩의 特徵 12
• 2) 18세기 以前 禪詩의 展開樣相 21
• 2. 18세기 佛敎界의 動向과 禪詩 29
• 1) 18세기 朝鮮社會와 佛敎界 動向 29
• 2) 18세기 禪詩의 主要 傾向 44
• 3. 18세기 禪師들의 詩文觀 53
• 1) 禪詩一如論 53
• 2) 效用論 60
• Ⅲ. 18세기 禪詩의 樣相 65
• 1. 悟處와 神解 : 天鏡海源 65
• 1) 對法으로 나타낸 中道 66
• 2) 應機接物의 神解 75
• 3) 紀行의 詩情 84
• 2. 觀照와 共濟의 願; &#40665;庵&#14177;&#21558; 95
• 1) 心學의 道 追求 96
• 2) 觀照의 閑趣 108
• 3) 儒佛共濟의 指向 115
• 3. 由敎入禪과 報佛: 蓮潭有一 125
• 1) 由敎入禪의 禪旨 126
• 2) 情懷와 禪趣 137
• 3) 報佛의 和會 144
• 4. 天然과 相生: 仁岳義沾 157
• 1) 天然之道의 喝 158
• 2) 觸事而眞의 天機 168
• 3) 心儒跡佛의 相生 174
• Ⅳ. 18세기 禪詩의 性格과 意義 188
• Ⅴ. 結論 208
• 參考文獻 215
• Abstract 235