禪詩(선시)의 선시성과 현대 선시

장도준 대구가톨릭대학교 인문과학연구소 2017 인문과학연구 Vol.0 No.32

The text of Zen poetry is peculiar genre of literature combining religion, Zen with literature, “poetry.” Therefore, generation of contemporary Zen poetry is closely related to discourse of Zen Buddhism. Both this heterogeneous discourse. Contemporary Zen poetry is defined as one succeeding Zen’s way of idea and principle of Zen’s meaning construction. Zen poetry is one that aspires for aesthetic consciousness of Zen’s enlightenment, that takes attitude of intuitive understanding of things beyond logic. Therefore, contemporary Zen poetry can be said to be “poetry having Zen taste”, “poetry having Zen atmosphere”. The contemplation in Zen poetry means direct realization of the reality of the object. The contemplation has an immediate-object intuition, that gets immediately into the object, as a formal method. In Zen poetry, the mind are linked each other with illogical relation. That means, it dismantle the conventional relations to restore and capture the moderate originality. The symbol of Zen poetry has multivocality by the original idea having relations with various subsidiary ideas. Zen poetry borrows paradox as a method. The contemplation reveals the moderate reality of the object directly.

楞伽禪과 僧稠禪과 定學

박건주(Park keon-joo) 불교학연구회 2005 불교학연구 Vol.12 No.-

According to the interpretation of Dao-xuan(道宣) Lanka-zen(Dar ma-zen) is not the school of study of doctrine(義學), also is different from the school of practice for Sam?dhi(定學). At the same time Lanka-zen has these both faces. Sengchou has became known to the representative of Hinayana-zen, however his practice ways, so-called four awakenings of mindfulness(四念處) in Nirvana S?tra, sixteen particular outstanding practices for Sam?dhi(十六特勝法), shamatha-vipashyan?(止觀) are possible to be practiced by the way of Mah?y?na. Besides the zen doctrine of dun-huang(敦煌) documents such as Dacheng-xinxing-lun(『大乘心行論』) written that the author is Seng-chou(僧稠) are in accord with Lanka-zen(Dar ma-zen) or Mah?y?na-zen. As regarding these points, although Dao-xuan distinguished Sengchou-zen from Darma-zen, it is possible that both zen doctrines have a thread of connection. How can elucidate the problem of discrepancy in both documents? This thesis would suggest one opinion as follows. Lanka-zen can be distinguished from other zen ways in aspect of that that is not attracted by object. In the primary stage Sengchou had practiced Hinayana-zen, and next time in proportion to progress, in the end he became to realize ultimate Mah?y?na-zen. Therefore his zen doctrine became to communicate with Lanka-zen and the members of that. Also this fact seems to have hand down the school of zen. but I wonder, not to have hand down the other school. The documents of zen-school from dun-huang speak for this fact.

게리 스나이더의 선불교 이해와 선시

양옥석 새한영어영문학회 2004 새한영어영문학 Vol.46 No.2

This study tries to make clear the relationship of Gary Snyder and Zen Buddhism and the characteristics of Snyder' Zen poems. His view of Zen Buddhism is different from that of Beat Generation writers such Alien Ginsberg, John Kerouac in that his Zen is formal and has been trained in Japan for about 10 years. His understanding of Zen Buddhism has some traits: firstly, he criticizes Western capitalistic culture in terms of Zen, and secondly he thinks Zen has some implications to contribute to a solution of environmental crisis and thirdly, he thinks human beings are equal with other animals in terms of their quality of life, and fourthly he emphasizes social participation and practice of Zen Buddhists. His Zen poems can be divided into two parts: Zen-theory poems and Zen-taste poems. While Zen-theory poems have a tendency to use concrete images, Zen-taste poems' characteristics are revealed in his objective description of things and of his everyday experience. The latter poems emphasize the emptying of mind and human being's immediate experience with other beings in nature, and suggest that human being is just one component of nature with other living beings, and must be modest. Finally His Zen-taste pursues the unity with nature.

젠 스타일 컬러 시스템에 관한 연구

김한응 한국일러스아트학회 2012 조형미디어학 Vol.15 No.3

Zen Style became one of the worldwide leading styles along with naturalism since the 1990’s. ‘Zen’ is a cultural and art movement influenced many art forms: architecture, interior design, drawing, graphics, industrial design, installation art, and also music. As a result, there are thousands of products made, and being made. Even with these spotlights. Zen Style’s design expressions are mostly subjective which failed to gain formative empathy: this lead to chaos in methods of Zen Style expression. The color expression of Zen Style is especially important in formative element, but so far, it only depended on the designer’s personal expression. Also, the research are shows only generic guidelines, which is not enough newer artworks; it has neither objective nor logical coloring system. The purpose of this paper is to express an intrinsic color system that Zen Style signifies and aims to apply. This study is based on the collected representative works of Zen along with the methods found in previous study, a research on the formative elements of Zen. To evaluate and verify color derivation, the each element for formative empathy of selected Zen Style images based on standard Korean color analysis tool to examine the color and built a database. Based on that, the empirical analysis based on statistical process established Zen Style color system. In addition, the analysis on the characteristics of the relationship between attributes and utilization of the results is also presented.  As a result of this study, the Zen Style's color system can be used as an objective tool for art designers and creators who had been using a subjective sense of Zen Style 젠 스타일은 1990년대 이후 자연주의 흐름과 함께 전 세계적으로 주목을 끌고 있는 스타일 중 하나이다. 젠(zen)이란 문화 예술 사조는 건축, 인테리어, 회화, 그래픽, 산업디자인, 설치미술, 젠 음악(zen music) 등 다양한 분야에서 활용되어 왔으며 관련 제품 및 아이템도 수천여가지가 개발되고 있다. 이러한 관심에도 불구하고 젠 스타일의 디자인적 표현은 대부분 주관적이며 개인의 감성 중심으로 흘러 조형 공감성을 갖는 표현 방법에 많은 혼란이 대두되어 왔다. 특히 젠 스타일의 컬러 표현은 중요한 조형적 요소임에도 불구하고 디자이너의 개인적인 감각에만 의존하고 있다. 또한 이에 대한 연구 결과도 대부분 일반적인 가이드라인을 제시할 뿐 디자인 작업시 구체적으로 활용할 수 있는 객관적이고 논리적인 컬러 시스템이 부족한 실정이다. 이에 본 논문은 젠 스타일을 상징적으로 표현할 수 있는 고유의 새로운 컬러 시스템을 도출하고 디자인 및 창작물에 적용하는 방법을 연구하는데 목적이 있다. 특히 본 논문은 젠 스타일의 조형적 요소인 형태 연구의 후속 연구로 선행 연구의 결과를 통해 수집된 젠 스타일을 대표하는 작품 및 이미지들을 기반으로 연구를 진행했다. 본 논문에서는 컬러 도출을 위해 조형적 공감요소 평가․검증을 통해 선정된 젠 스타일 이미지들을 중심으로 한국 표준 색채 분석 도구를 이용하여 컬러를 분석하고 컬러 데이터베이스를 구축했으며 이를 토대로 실증분석에 의한 통계 처리를 통해 젠 스타일 컬러 시스템을 정립했다. 또한 본 논문에서는 젠 스타일 컬러들의 속성간 상관관계 및 특성을 분석하고 결과에 대한 활용방안도 제시한다. 본 연구의 결과로 도출된 젠 스타일을 상징하는 컬러 시스템은 디자이너의 개인적인 감각에만 의존하던 기존의 젠 스타일 컬러 문제를 객관적으로 풀어가는 도구로 활용할 수 있을 것이라 사료된다.

〈최생우진기〉의 禪小說的 美學

김현화(hyun-hwa Kim) 어문연구학회 2008 어문연구 Vol.57 No.-

  ChoiSaengWoojingi(崔生遇眞記) is one of the works brought from Kijaekiee (企齋記異), Chinese-written short novel series of Kijae Kwang-han Shin(企齋申光漢, 1484-1555). Main story is experience of the palace of the sea king that ChoiSaeng in ImYoung(臨瀛) land visits the cave of Mountain Doota and meets the sea god and a wizard. Under Doga-conception which means exploration of the world of a wizard, this work includes the thinking-system of Zen. Thus, it presents Taoistic idea in the contents and implicates Zen idea by the metaphor and symbol. This is high status of literary expression but it is not yet dealt with in academic society. This paper is to search for the value of ChoiSaengwoojingi as a Zen-novel based on Zen-conception.<BR>  Kijae lived typical life of a scholar as one of Sarim Group that tried to implement Morality-politics with Gwang-jo Jo(趙光祖) and a member of prosperous Hoongu-family. However, he concerned about Zen and interacted with Buddhist priests in a mountain temple through all his life. He could learn the Buddhist thinking-system by interaction with Buddhist priests and, finally, implemented Zen-conception in ChoiSaengwoojingi. Zen idea of Kijae is to see through not only its life but also political and social order and world view of the ages. He tried to make a novelistic approach to manifest more flexible Zen idea.<BR>  The palace of the sea king is the place that shows the theme of this work and the character of Zen-novel. In this place, ChoiSaeng discusses Human-world of vain fame, wealth and ambitions with wizards and then realizes the condition that all creations are united. Thus, the palace of the sea king is the place of Zen for realization and its appearance is influenced a lot by Samkukyusa(三國遺事). Documents about hidden cave of a mountain (hidden hole) of a mountain, Buddhist world of a mountain, a pond of a mountain influenced Zen-like shaping of the palace of the sea king of ChoiSaengwoojingi. It means, Kijae received literary method of former ages and expressed his own idea in familiar emotional status.<BR>  Kijae(企齋) observes the political ruin of Gwang-jo Jo(趙光祖) who was a kind of accomplice in Kimyosahwa(己卯士禍) and experienced the disruption and deconstruction of Confucian world. As Gwang-jo Jo(趙光祖) was punished to death without proper execution of Kyunggukdaejon(經國大典), he realized that this world can not be controlled only by the morality of Confucianism. Kijae(企齋) turns his concern to the thinking-system of Zen that he had some interest in and tries to solve realistic problem in it. He created the space, the palace of the sea king, that all laws, conceptions and personal life are united as one to return the unfair world. So, the Palace of the Sea King is not normal place but the special place presented under writer"s careful plan.<BR>  ChoiSaengwoojingi is close relation with the structure of Zen-dialogue of topic series, Byeokamrock(碧巖錄), of Zen-family that was known widely to the times when the author is alive. First, there are common features to pursue empirical Zen. The dialogue between ChoiSaeng and Jeunggond after ChoiSaeng finished 70-days exploration of the palace of the sea king is similar with ordinary and empirical dialogue related with "Bob(飯)" of clause 76 in Byeokamrock. Zen is such a thing that is captured during living activity or experiencing something. ChoiSang and JeungKong who are main characters in the novel have a conversation about "food" and the talk must be look like the "food" of Zen sect that symbolizes realism of Zen. Zen ideaof the writer who experienced a Zen priest seemed to be expressed in a way of empirical conversation.<BR>  Also, the condition of realization is identical to the structure occurred after hanging around a mountain. As ChoiSaeng had a realization after hanging around Doota mountain, clause 34 and 36 of Byeok

동아시아 선문학의 표현과 논리

윤종갑 ( Joung Gab Yun ) 동아시아불교문화학회 2016 동아시아불교문화 Vol.0 No.25

동아시아 禪文學의 출발점은 동아시아 禪思想이다. 그리고 동아시아 선사상은 중국 선사상을 모체로 한다. 중국 선사상은 인도불교를 수용하여 새롭게 창안된 중국식 불교로 한국과 일본 등 동아시아 지역의 선사상의 본류이기도 하다. 중국문학사에서 간과할 수 없는 영역 가운데 하나가 禪과 문학의 관계이다. 특히 선과 관련해서는 문학 가운데서도 詩가 중요한 위치를 차지한다. 이러한 사실을 인식하여 金代의 元好問은 『答俊書記學詩』에서 “시는 禪家에서 수를 놓는 비단이요, 선은 詩家에서 옥을 다듬는 칼이다.”라고 하였다. 이와같은 비유는 詩와 禪이 서로 어우러질 때 그 맛이 더욱 깊어지고 다채로워 지는 것으로, 선과 시는 서로 불가결한 관계, 즉 禪詩로 자연스럽게 결합되었음을 표현한 것이다. 동아시아 선문학의 가장 두드러진 논리적 특징 가운데 하나가 ‘卽非의 논리’이다. 즉 비의 논리는 스즈키 다이세츠(鈴木大拙, 1870-1966)가 제창한 것으로, 禪의 사고가 통상의 형식논리를 초월한다는 것을 정식화 한 것이다. 즉 비의 논리는 『金剛經』에 선명히 나타나는데, 동아시아 선문학에서도 형식적논리를 초월한 ‘깨달음의 논리’로서 표현되고 있다. 즉, 즉비의 논리는 체험을 바탕으로 한 ‘禪의 논리’이다. 본 논문에서는 동아시아 선문학의 표현을 가장선명하게 보여주는 중국 禪詩에 나타난 표현과 그리고 그 표현을 깨달음의 논리로 드러낸 것으로 생각되는 『금강경』의 즉비의 논리에 대해서 살펴보았다. Zen of East Asia is the starting point of Zen literature. And Zen of East Asia is based on Chinese Zen thought. Chinese Zen thought was accepted Indian Buddhism, then it became the main stream of East Asia. On the Chinese history of literature, the relation of Zen and literature can’t be ignored. Especially about Zen, Poem is very important. So recently Yuan hao won wrote that Poem is embroider of silk in the Zen sect, Zen is trim the prison knife in the poetry. A metaphor, like this when poem and Zen is in harmony it is more deeper and varied and refreshed. So it is expression th Zen and poem is indispensible relationship. The marked logical character of East Asia’s Zen literature is ‘the logic of Just-not(卽非)’ it has declared by Suzuki Daisetsu(1870-1966). His opinion has formalized that Zen Thinking transcend usual Formal logic. ‘The logic of Just-not’ is clearly showed in Vajra-sutra, it is expressed logic of enlightenment in the East Asia Zen literature. This paper study the expression of the Chinese Zen poem which most clearly showed about the expression of Zen literature and ‘the logic of Just-not’ in Vajra-sutra.

선종의 회화(繪畫)와 공안(公案)의 관계

김대열 사단법인한국교수불자연합회 2022 한국교수불자연합학회지 Vol.28 No.3

The Chinese Song and Yuan Age witnessed the deep penetration and clear influence of the Zen Sect Idea into and on the entire culture and arts, as well as academic circles. The Zen Sect Painting that emerged throughout the period receives a great deal of attention from culture history, art history or general art spheres, as a discussion agenda. In this regard, this study aimed to examine the correlation and emergence origin between the Zen Sect Painting and the Text Zen, and to more clearly understand the significance of its emergence, being concerned about the Zen Sect Painting which was present at the first appearance of the Text Zen. Based on the objective, this author made a discussion about it. After 'Gongan (Buddha's words and actions)' came to the fore, the Zen Sect was meant to reveal individual characteristics and full vitality, putting heavy weight on life. In addition, the emergence of Gongan gave the Zen Sect the boost on much creative cutting edge, but spawned the fixation of the institutional systems. In particular, Suzki emphasized that the emergence of Gongan contributed to the popularization of the Zen Sect, adding that Gongan was utilized by the Zen Sect scholars for the purpose of passing down their own enlightenment. The spreading of Ganhwaseon (Koan Mediation) provided the direction for the Zen Sect to advance toward the discourse in association with Tagibong (打機 鋒, word to word) and Seoljeoneo (說傳語, words handed down orally), offering the momentum for China to purse a new direction of culture and art. No doubt, the massive emergence of Gesongsi (poem and hym of buddhist tenets) is resulted from the influence of the poems and phases of the Dang and Song Dynasty. It can also be interpreted as the same context framework that the Zen Sect religious leaders and literary men tried to deliver Euigyeong (意境, meaning reborn by the combination with objective correlative and intravenous image understood and cognized by writers) in pursuit of the Zen Sect, by drawing pictures, after the Chinse five dynasties. The embodying Euigyeong into vidual language led to the emergence of the Zin Sect Painting, which was utilized as the expression means for Indian ink. Having light and shade with unusual and suggestive characteristics, Indian ink was an extremely appropriate medium for decreasing the concrete meaning of form itself, and expressing the writer's ideal, in other words, Euigyeong, based on such characteristics. The Zin Sect Painting is aimed to actively express artists' own thoughts and emotions, rather than describing objective facts as they were. Taking this into account, it is considered that ink painting and the Zen Sect come to form their close correlation, while shedding a new light on and realizing human ego. 중국의 송원시대는 선종사상이 학술은 물론 문화예술 전반에 깊이 스며들어 그 영향이 확연히 드러난 시기이다. 이시기에 출현한 선종회화는 문화사의 측면이나 미술사학계 혹은 일반미술계에서도 오랜 동안 관심과 토론의 대상이다. 본고는 선종에서 문자선의 출현과 더불어 나타난 선종회화에 대하여 관심을 가지고 이 양자 간의 상호 영향관계 및 발생관계를 규명하여 그 출현 의의를 보다 명확히 밝히는데 목적을 두고 논의를 진행하였다. ‘공안’의 출현 이후 선종은 생활을 중시하고 개인의 개성과 충만한 생명력의 특질을 드러내려 하였다. 그 밖에 공안의 출현은 선종의 많은 창조적 활력을 증가시켰으나 제도형성의 고착화를 가능하게 하였다. 스스끼는 공안의 출현은 선종의 대중화에 공헌했음을 특별히 강조하고 있으며 아울러 선사들이 자기의 깨달음의 경험을 전승하는데 운용하고 있음을 말하고 있다. 이와 같은 간화선의 흥기는 선종으로 하여금 타기봉(打機鋒), 설전어(說傳語)의 구두선의 경향으로 발전의 방향을 돌리게 했으며 이와 아울러 중국의 문학, 예술의 방향을 돌리는 계기도 되었다. 선종 게송시의 대량 출현은 의심할 것도 없이 당시(唐詩)와 송사(宋詞)의 영향을 받았기 때문이었다. 오대 양송 이후 선승과 문인들은 그림으로써 선적 의경을 표현하려 한 것 역시 같은 맥락이다. 의경(意境)의 시각언어로의 표현은 선종화(禪宗畵)를 출현시키게 되었는데, 이 선종화는 수묵(水墨)을 표현 수단으로 삼았다. 의경은 사물을 구체화하는 것이 아니라 단순하고 개괄적으로 표현하기 때문에 수묵의 농담이 그 역할을 아주 적합하게 할 수 있었기 때문이다. 이렇게 출현한 선종회화는 객관사실을 그대로 묘사하기보다는 작가 자신의 사고와 감정 자유롭게 표출하였는데, 이는 곧 ‘선적 사유’ 혹은 ‘깨달음’의 방편 내지 도구였으며 이것은 이후 동양 미술 문화의 근간으로 형성되었다.

조선후기 三門修學과 禪 논쟁의 전개

이종수 한국불교학회 2012 韓國佛敎學 Vol.63 No.-

The reason that the academic argument concerning Zen arose in the 19th century is because Baekpa keungseon (白坡亘璇), based on the three phrases of Linzai (臨濟), classified Zen into three categories, Patriarch Zen (祖師禪), Tathāgata Zen (如來禪) and Logical Zen (義理禪), and then criticized the traditional premise by identifying Patriarch Zen and Tathāgata Zen with Extraordinary Zen (格外禪). The traditional premise Baekpa argued against was to divide Patriarch Zen from Tathāgata Zen according to the human, while Extraordinary Zen Logical Zen was to be classified by the Dharma. But Baekpa’s argument was opposed by Choeui euisun (草衣意恂) who supported the traditional account. When one considers the fact that considerable numbers of comments concerning this issue are seen on various Buddhists writings from the 18th century, it is possible to say that this argument was starting to be initiated since the 18th century, not arose only by Baekpa and Choeui. Therefore, I suggest that the historical background of this argument from the 19th century cannot be well explained without concerning the Discipline of Three Gates (三門修學), Gyeongjeolmun (徑截門: the gate of direct cut), Wondonmun (圓頓門: the gate of perfection and epiphany) and Yeombulmun (念佛門: the gate of chanting Buddha), which was adopted as a general curriculum of Buddhist practice in the 18th century. Ever since Cheongheo hyujeong (淸虛休靜) suggested the Discipline of Three Gates as a method of practice to students, Gyeongjeolmun was recognized as the most superior practice method. However, as Avataṃsaka study and the belief of the western pure land became popularized in the 18th century, the status of Wondonmun and Yeombulmun was boosted up so that people at the time were tended to recognize those three gates equally. This new perspective gave a group of Zen masters who regarded Gyeongjeolmun as the absolute method a reason to re-emphasis the supremacy of Gyeongjeolmun. The core of the argument was how to understand Logical Zen. Since Logical Zen was identified with Wondonmun at the time, the problem was whether Wondonmun should be identified with Tathāgata Zen or not. While Baekpa regarded Tathāgata Zen as Extraordinary Zen and concerned it in the category of Gyeongjeolmun, Choeui understood Tathāgata Zen as Logical Zen and, therefore, he put it into Wondonmun category. On the other hand, Yeombulmun was considered to be in the category of Logical Zen by both of them. I think, along those lines, that understanding the Discipline of Three Gates helps to comprehend the historical background of the Zen argument. 19세기 선 논쟁이 발생한 직접적인 이유는 백파긍선이 臨濟三句에 의거하여 조사선․여래선․의리선으로 나누고 조사선과 여래선을 격외선이라 하면서 古來通談(예로부터 내려오는 공통적인 담론)을 비판하면서 비롯되었다. 긍선이 비판했던 古來通談이란 사람에 의거하여 조사선과 여래선을 나누고 법에 의거하여 격외선과 의리선으로 나누어야 한다는 주장인데 초의의순이 古來通談을 지지하며 긍선을 비판했던 것이다. 이러한 선 논쟁의 단초는 18세기 여러 저술에서 발견되므로 긍선과 의순의 선 논쟁은 그들만의 논쟁이 아니라 18세기부터 이미 형성되어 온 논쟁이라 할 수 있다. 그러므로 19세기 선 논쟁의 배경은 18세기 이래 일반적인 수행체계가 된 경절문․원돈문․염불문의 三門修學과 분리하여 설명할 수 없다고 할 수 있다. 청허휴정이 삼문수학을 제시한 이래 삼문 가운데 경절문이 가장 수승한 수행법으로 인식되었으나 18세기 화엄학의 유행과 서방정토 신앙의 확대로 원돈문과 염불문의 위상이 높아지면서 삼문을 동등하게 보려는 경향이 나타났다. 그러자 경절문을 절대시하던 禪師들은 새롭게 경절문의 우월성을 강조할 필요성이 있었다. 논쟁의 핵심은 의리선을 어떻게 볼 것인가에 대한 것이라고 할 수 있는데, 당시는 의리선을 원돈문과 같은 것으로 인식하고 있었으므로 결국 원돈문이 여래선과 같은 위상인가, 아닌가의 문제로 귀결된다. 긍선은 여래선을 격외선이라 하여 경절문의 범위에서 다루었으나 의순은 여래선을 의리선이라 하여 원돈문에서 다루었다. 한편 염불문의 경우는 긍선과 의순 모두 의리선의 범위에 포함시켰던 것으로 보인다. 이와 같이 선 논쟁의 배경을 삼문수학으로 설명하면 더욱 분명하게 이해할 수 있다.

『능가경』의 禪法과 초기 禪宗(3) - 如來禪ㆍ祖師禪의 문제

박건주(Park keon-joo) 불교학연구회 2004 불교학연구 Vol.8 No.-

  "Tath?gata zen" which is stated in Lanka s?tra is not conditioned things in the casual state because that is Tath?gata"s protection-pra ctice for Bodhisattva. "Patriarch zen" which is called in later ages is not something particular with "Tath?gata (purity) zen" that is said by Shen-hui神會 and Ma-zu馬祖ㆍZong-mi宗密. By the way the special designation of "Patriarch zen" have some natural reason and historical background. That is, the first : they presented the type of awakening by conversation and to ask of matters directly, the second : the practice of transcendence of vipa?yan?, the third : the Dharma succession through direct transmission from mind to mind, the four : the zen of sudden enlightenment and sudden practice, non-forced practice, the five : misunderstanding on the [progressing into Tath?gata zen] for [Tath?gata zen]. Generally speaking the "Patriarch zen" is fundamental to Lanka zen, and include sanction of accomplishment on the assumption of embodiment in Dharma, and that is Patriarch"s personal transmission.

조선후기 선리논쟁의 양상과 성격의 고찰

김호귀 한국불교연구원 2021 불교연구 Vol.54 No.-

The zen-doctrine polemics, which lasted more than a hundred years in the late Joseon Dynasty, was an important event in the history of Korean Zen. There are seven themes that Choui-Uisoon(草衣意恂) criticized in the Seonmoonsabyunoe(禪門四辨漫語)about the Seonmoonsugyong(禪文手鏡) of Bakpa-Geungsun(白坡亘璿). For example, the three zens related to the three phases of Linjie(臨濟三句), convey one's mind in three places, tathagata-zen and patriarch-zen, the origin of tathagata-zen and patriarch-zen, theory-zen and extraordinary-zen, a sword to that kills people and a sword to save people, complete void and subtle existence. On the other hand, Udam-Honggi(優曇洪基) criticized four things about Bakpa-Geungsun's view independently of Choui-Uisoon by Seonmunjaejungrok(禪門證正錄). For example, convey one's mind in three places, tathagata-zen and patriarch-zen and theory-zen and extraordinary-zen, a sword to that kills people and a sword to save people, three kinds of teachings and single teaching. And Suldoo-Yoohyung(雪竇有炯), fifth generation side with one's views of Bakpa-Geungsun's refuted criticism by Choui-Uisoon and Udam-Honggi, defending Bakpa-Geungsun's views by Seonwonsoryu(禪源遡流). Suldoo-Yoohyung refuted Choui-Uisoon's criticism in eight ways and also refuted Udam-Honggi's criticism in four ways. Chookwon-Jinha(竺源震河) took a comprehensive attitude toward the existing long-standing debate by Seonmoonjaejungrok(禪文再正錄). Chookwon-Jinha tried to resolve the already raised questions and tried to induce the meaning of zen-doctrine polemics to a positive aspect. The nature of these zen-doctrine polemics that appeared in the late Joseon Dynasty was the case that showed the characteristics of Korea zen-history because it showed a long-standing deepening in various topics in Korean zen-history. These zen-doctrine polimics was closely related to the identity of Korean zen, where Linjie zen-sect was the mainstream. 조선후기에 백여 년 이상 지속되었던 선리의 논쟁은 한국선의 역사에서 중요한 사건이었다. 백파의 『선문수경』에 대하여 초의가 『선문사변만어』에서 비판했던 주제는 임제삼구와 관련한 삼종선의 배대, 삼처전심, 조사선과 여래선의 선문오종의 배대, 조사선과 여래선의 유래, 격외선과 의리선, 살인도와 활인검, 진공과 묘유 등 일곱 가지였다. 한편 우담홍기는 초의와 별도로 백파의 견해에 대하여 비판한 점은 삼처전심, 조사선과 여래선 및 의리선과 격외선, 살인도와 활인검, 삼구와 일구의 관계 등 네 가지였다. 그리고 백파의 제5세 법손이었던 설두유형은 백파의 견해를 옹호하면서 초의와 우담의 비판에 반박하였다. 설두는 초의에 대해서는 조사선과 여래선, 삼처전심과 이선, 權에 즉하여 實을 해명하는 것, 임제의 제삼구는 의리선, 살과 활, 선종오가의 배열, 진공과 묘유 등 여덟 가지였다. 또한 우담에 대해서는 삼처전심, 여래선‧조사선 및 의리선‧격외선, 살인도와 활인검, 삼구와 일구의 관계 등 네 가지였다. 또한 禪‧敎‧律을 겸비했던 축원진하는 기존의 오랜 논쟁에 대한 종합적인 태도를 취하였다. 진하는 이미 제기된 의문점을 해소하려고 노력함으로써 선리논쟁의 의미를 긍정적인 측면으로 유도하려고 하였다. 조선후기에 출현했던 이들 선리의 논쟁의 성격은 한국선종사에서 다양한 주제에 걸쳐서 오랫동안 지속적으로 심화된 모습을 보여줌으로써 한국선의 특색을 잘 드러내준 사건이었다. 이 선리논쟁은 임제선종이 주류를 형성해왔던 한국선의 정체성과도 무관하지 않은 주제였다.