풍수설화의 유형 분류

장장식(張長植) 한국민속학회 1989 韓國民俗學 Vol.22 No.1

불과민속 - 하회줄불놀이

장장식,Jang, Jang-Sik 한국화재보험협회 2007 防災와 保險 Vol.117 No.-

일본 출토 '윷판형' 유물에 대한 비판적 검토

장장식 한국암각화학회 2016 한국암각화연구 Vol.20 No.-

몽골의 ‘어머니바위’신앙과 담론의 의미

장장식 실천민속학회 2003 실천민속학연구 Vol.5 No.-

고려 만월대 출토 참고누판 연구

장장식 한국암각화학회 2008 한국암각화연구 Vol.12 No.-

조선지지자료 ‘경기도편’에 나타난 민속 관련 지명 분석

장장식 국립민속박물관 2009 민속학연구 Vol.0 No.24

The “Geographical Data of Joseon”, aka “Joseon Jijijaryo”, is presumed to have been published between October 1910 and December 1911. The motivation behind the publishing of “Joseon Jijijaryo” is not clear, as well as its publisher, publishing date and location of publishing. In addition, its 54 hand-transcribed copies vary in their fidelity to the original and have a lot of missing data. However, producing such a large volume of copies in a short span of time seemed to have come from a major transcription project that was undertaken simultaneously, nationwide. It could be assumed that the reason for its lack of uniformity in the method of entry and order was due to the lack of production standards as well as the shortness of production time. This essay examines the name “Dang” to refer to a place of ritual, and other related names of places with emphasis on folklore-related names as well as names related to Jangseung(Korean traditional totem poles) and Guksadang(national shrine). Compared to the total number of place names, there are very few place names that are folklore-related, and which have a lot of variables in listing those names in Chinese characters. This phenomenon probably occurred because the language users that time were conscious of the data collection process. For example, “Dang”(堂) was also listed sometimes as Dang(棠, 唐, 塘), but all of these variants are pronounced “Dang”. These variations show that “Dang” could not have been listed as “Dang”. The usage of Chinese characters along with Korean letters was mainly for phonetic representation, which directly relates to the conscious decision made by a person who wrote the names. Conclusions:A listing of the names of the same places using Korean and Chinese characters do not always correspond to each other. In addition, when Chinese characters were used to list a place, a set of variations was used, which shows that listing was done not to emphasize the meaning of a name but to transfer sound. It is possible to have a glimpse of how people lived in that certain period of time by studying the names of places related to folklore. For example, the dual usage of the names Seonangdang and Seonghwangdang for the same place reveals the actual sounds used in that period that can evidence the differences between those variations. This data is very important, considering the fact that the sound is from one hundred years ago. A third conclusion is that clues for understanding folk religions could be inferred from the names of places related to folklore. For example, describing Dodang(都堂) or Dodangje as a ceremony that was seemingly identical with “Dodang”(禱堂, 陶唐, 道堂) has significance. Surprisingly, “Dodang”, which is the present way of listing “Dodang” was not used. Also we can conclude that from the religious point of view, one can read the differences of Buldang, Mireukdang, Dodang, Seonangdang, Seonghwangdang and Dang from their names alone. It is noteworthy that the Chinese character listing of all these places has a set of variations except for Buldang, and this fact highlights the distinctive qualities of Buddhism and folk religion. Lastly, it is quite evident that a sacred place and object played a central role in coordinating a natural scenery for folklores one hundred years ago. This proves that ancient people highly regarded folk religion and accepted it as the core of the culture. As this essay presents the aforementioned conclusions, there is a need to conduct further analysis on the names of places using a historical approach in the future. 1910년 10월부터 1911년 12월 사이에 편찬된 것으로 추정되는 『조선지지자료』는 편찬 동기를 비롯하여 펴낸이, 펴낸 곳, 펴낸 날짜 등이 분명하지 않다. 게다가 54책 필사본에 수록된 내용의 충실도에 차이가 나고, 누락된 부분도 많은 편이다. 그러나 방대한 분량을 짧은 시기에 편찬할 수 있었던 것은 전국적으로 일시에 착수한 동시다발적 사업 때문으로 보인다. 기재방식이나 순서가 통일되지 못한 것은 작성기간이 짧은 까닭도 있지만 강제할 수 있는 규범적 지침이 약했던 것이 아닌가 한다. 이 글은 『조선지지자료』의 경기도편에 반영된 민속학적 지명들을 중심으로 ‘당’ 관련 지명을 비롯하여 ‘장승-국사당’ 관련 지명을 살펴보았다. 전체적인 지명에 비해 민속지명은 그 수효가 매우 적은 편이고, 한자표기 또한 다양한 양상을 보인다. 이는 당대의 조사과정에서 구현된 言衆의 의식과 관련된 것이라 판단된다. 이를테면 ‘堂’을 ‘棠, 唐, 塘’으로 표기한 것은 그것이 굳이 ‘堂’이 아니어도 된다는 인식과 함께 한자어의 병기가 표기자의 의식과 관련된 음사적 표기였다는 점을 반영한다고 볼 수 있다. 논의의 결과는 다음과 같다. 첫째, 지명의 우리말 표기와 한자어 표기가 대응되지 않는 경우가 많다. 그리고 한자어로 표기할 때, 동일한 의미를 지닌 우리말 지명을 다양한 한자어로 표기한 경우가 많다. 이는 지명의 뜻을 강조하기보다는 소리옮김의 표기에 치중한 탓이 아닌가 한다. 둘째, 민속을 반영한 지명을 통해 당대의 민속을 해석할 수 있는 실마리를 얻는다. 예컨대 서낭당과 성황당의 2분법적 구별 내지 혼용을 증거할 수 있는 당대의 현실음을 확인할 수 있다. 이것이 100년 전의 상황임을 감안할 때 매우 중요한 자료가 아닐 수 없다. 셋째, 민속지명을 통해 당대의 민속신앙이 지닌 성격을 해석할 수 있는 실마리를 얻는다. 이를테면 동일한 의례로 보이는 도당 또는 도당제를 두고 ‘禱堂, 陶唐, 道堂’으로 표현하고 있는 것은 단순한 일이 아니다. 오히려 오늘날의 표현인 都堂은 보이지 않는다. 넷째, 신앙측면에서 보았을 때, 지명을 통해서 불당, 미륵당, 도당, 서낭당, 성황당, 당 등의 변별력을 읽을 수 있다. 특히 佛堂 표기를 제외한 신앙관련 지명의 한자 표기는 매우 혼란스러운데 이 점은 불교 대 민간신앙의 차별적 특성에서 비롯된 것이 아닌가 한다. 끝으로 100여 년 전의 민속현장은 聖所와 신앙대상물인 神聖體가 공간의 중심으로서 기능을 담당했고 자연경관의 좌표로서 구실했음을 분명하게 보여주고 있다. 이는 민간신앙이 민속적 삶의 구심력 구실을 했고, 공동체 문화의 핵심으로 수용되고 있었음을 뜻한다. 이와 같이 논의의 요약을 통해 결론을 삼았지만 이 연구에서 지명에 대한 통시적 연구는 다음의 과제로 남긴다.

연구발표 / 점복자와 점복의 종류

장장식 한국민속학회 1999 한국민속학회 학술발표대회 요지 Vol.- No.-

몽골 바위그림에 나타난 하스 문양(卐, 卍)의 양상과 의미

장장식,아리온자야 한국몽골학회 2017 몽골학 Vol.0 No.48

The pattern of Has(卐, 卍) which represents Mongolia is the most popular pattern in the history of Mongolian political history, the religious history and the cultural history. However, there are many opinions about the origin and meaning of the Has pattern. This paper finds out the origin of Has pattern in Mongolian rock art and examines the symbolic significance and various aspects of Has pattern on the basis of the view of existing scholars. The Has pattern of the rock art appears in a variety of patterns including the X pattern, the + pattern, the clockwise 卐 pattern, the counter clockwise 卍 pattern and the Has pattern with three rings. The X pattern and the + pattern are mostly shown on the rock painting which is a kind of Mongolian rock art and the symbolic meaning is interpreted as a symbol representing fire and sky and a pattern marking the place that a god down in religious activities. In petroglyph which is one of the rock art, there are the X and the + patterns, the two types of Hass patterns of the 卐 and 卍 and the transformed type with three rings as like on the rock paintings. The Has pattern is interpreted as the sign of a clan and classified into four types such as ‘Early clan symbol’, ‘Derived clan symbol’, ‘Conquer clan symbol’ and ‘Immigrated clan symbol’ in combination with other symbol patterns. The prototype of Has pattern is the + and the X pattern. They are developed into the 卐 pattern and the 卍 pattern and diversely transformed into the change of the ring such as the square, the rhombus, the circle combined with various geometric models. This tradition of petroglyphs also leads to the Turkic inscription. The Has pattern which can be found on the Turkic inscriptions is a transformed form of the X pattern and the 卐 pattern. This is similar to the aspect appeared on the rock art. We hope that this study will be a stepping stone for the comparative study between Korea and Mongolia by studying the cultural aspects of prehistoric people through the various aspects of the Has(卍 and 卍) pattern shown in Mongolian rock arts.

불과민속 - 불의 민속, 그 상징의 중심에 있는 화재막이

장장식,Jang, Jang-Sik 한국화재보험협회 2004 防災와 保險 Vol.101 No.-

전주용왕제의 의례화와 방향성

장장식 국립민속박물관 2011 민속학연구 Vol.0 No.28

Jeonju Dragon King Feast aims for a local feast which based on ‘tradition’ or ‘traditional culture’. Indeed, ‘tradition’ is the synchronically comparative meaning of ‘modern’ which existed in the definition of the time, yet ‘traditional culture’ is comprehended the cessation of past culture. Tradition and tradition culture, however, are existed and reinterpreted in terms of continuous definition, sometimes reinvented. Some criticism about Jeonju Dragon King Feast begins both actions of ceased the past and reinvention of the present. The efforts of restore and revitalization of Jeonju Dragon King Feast is an endeavor of understanding the past. This is a cultural movement of the reinventing the tradition. Furthermore, Jeonju Dragon King Feast secured the traditionality already in a historical context. The venue of the feast is entrusted both the religious meaning and network in the point of the present. This is a natural result and the right direction of Jeonju Dragon King Feast. Jeonju Dragon King Feast is a local festival. The regional festival should be expressing its locality effectively and expose the goals of the festival clearly. In other words, it should be reproducing the traditionality in a modern context, which represents some characteristics of locality. Needless to say, the cultural consensus and solidarity is crucial to help understand Jeonju Dragon King Feast. This is the first directivity of Jeonju Dragon King Feast should be aiming. Ordinarily, when we define some aspects of festivals, we categorize the inner directed type festival, the outer directed type festival, and two-way type festival. The inner directed festival is focusing on the unity and build up the community spirit, yet intends to stir up historical consciousness and local patriotism. The outer directed type festival is based on the regional characters which emphasized on the revitalization of community and industrial development. It also focused on the promotion of tourism, and reconstruction of local economy. On the contrary, the two-way type festival contributes to build its own identity through inner direction,which seeks the community growth at the same time. Jeonju Dragon King Feast should have the two-way type festival which aims unidirectional festival. This is the second directivity of Jeonju Dragon King Feast. The recent trends of the festival contents are one source multi use. The festival space is melting into a story-telling, and cultural symbols are made of distinct images to support the establishment o f identity of the festival. It should be considered and emphasized when the Jeonju Dragon King Feast is carried out. This is the third directivity of Jeonju Dragon King Feast. Adding a word before I conclude, the Dragon King feast at Deokjin pond in Jeonju city should have a close connection with the Hanok Village which is revving up already. Deokjin pond is located at the entrance of Jeonju city. The tourism of Jeonju city should be starting at Deokjin pond and finishes at the Hanok Village. The contextual historical culture space should be made as a whole. I would like to emphasize the importance of Jeonju Dragon King Feast culturally and as the important cultural motive as well.