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鄕歌의 思想的 背景攷 : 彌勒思想을 中心으로 Stressing upon the Idea of Statue of Buddha
曺平煥 건국대학교 1990 論文集 Vol.30 No.1
The writer of this paper has looked first into the idea of Stone Statue of Buddha that is appeared in Buddhist Scripture, and also has examined how such were accepted in Silla Dynasty. Based on these, the writer has further studied about the works of Native Song, 'Hyang-ka' such as Dosol-ka(Written by Monk, Wolmyung-sa), MoJukjirang-ka(Written by Duko longing Hwarang "Jukji"), Anmin-ka(Written by Monk, Chungdam-sa) and Chankiparang-ka(Written to cherish the memory of the deceased Monk, Chungdam-sa).
鄕歌形式의 成立背景攷 : On the subject of ke-Song(hymn & praise) 偈頌을 中心으로
曺平煥 건국대학교 부설 중원인문연구소 1989 論文集 Vol.8 No.-
As a result of a study on the subject of hymns and praises recorded on Buddhist Scripture and Samkukyusa(Heritage of Three Kingdoms)aiming inquire into the formative background of ancient Korean Ballads, Buddhist songs and ballads of Silla Era, following conclusions were drawn: 1. Ung-song(Reply Hymn)recorded on Buddhist Scripture and the Heritage of Three Kingdoms can be further classified in to Ban-ke(Half hymn), Tan-ke(Single hymn)and Yonke(United hymn). 2. Of these reply hymns, the single hymn comprised of single phrase exerted influences on the quatrained Hyang-ka, whereas the united hymns comprised of two phrases on the octorained ones and the united hymns comprised of ten phrases on the decarained ones respectively. 3. All of the reply hymns recorded on the Buddhist Scripture and the Heritage of Three Kingdoms being accompanied by proses with no exception seem to have affected on the form of Hyang-ka accompanied by the background legendaries.
曺平煥 건국대학교 부설 중원인문연구소 1985 論文集 Vol.4 No.-
Summing up a study of the froms of Hyang-Ga(鄕歌) centering around the songs translated into Chinese before the Koryo era and Sam-Ku-Yuk-Myong(三句六名) are as follows: 1) Out of the Chinese-translation songs of 23 pieces, those works made up of even number lines(18 pieces) overwhelmingly outnumber the works of odd nulmber lines(5 pieces). 2) Among those works of even number lines, there is only one (1) piece of work which consists of six lines, the remainder being works of two lines (7 pieces) and four lines (10 pieces). 3) The forms of Hyang-Ga(鄕歌) is considered to have the origin in theses songs of two lines and four lines. 4) The songs of four-line type in particular is considered to have acted directed on the formation of Il-Ku-Yi-Myong-Che Hyang-Ga(一句二名體 鄕歌). 5) Judging from the fact that there is only one piece of song-of six-line type, it is considered to have developed directly into Yi-Ku-Sa-Myong-Che Hyang-Ga(二句四名體 鄕歌) from Il-Ku-Yi-Myong-Che Hyang-Ga(一句二名體 鄕歌), without passing through six-line-type Hyang-Ga(鄕歌). 6) All the eleven chapters of Bo-Hyun-Sip-Won-Ga(普賢十願歌) is punctuated and articulated in eleven bits. 7) Cha-Sa(嗟辭) is an independent articulation, coming under O-Myong(五名). 8) Ku(句) and Myong(名) in Sam-Ku-Yuk-Myong(三句六名) have certain units of meaning, repectively, and Ku(句) divides it into six equal parts. 9) The forms of Hyang-Ga (鄕歌) include 1) Il-Ku-Yi-Myong-Che(一句二名體), 2) Yi-Ku-Sa-Myong-Che(二句四名體), 3) Sam-Ku-Yuk-Myong-Che(三句六名體), 4) Yon-Hyang-Ga(連鄕歌), a consecutive type of Sam-Ku-Yuk-Myong-Che(三句六名體), etc., among which Sam-Ku-Yuk-Myong-Che (三句六名體) is the standard type.
曺平煥 건국대학교 1984 論文集 Vol.18 No.1
As a result of through consideration both externally and substantially on the Hyang-Ka(鄕歌) transmitted in the Kyun-Yo Legend (均如傳), I have become to know that it is a "Yun-Hyang-Ka" (連鄕歌), which was written in the form of a continuation as wall as a 10-phrase style fort· form's sake. Therefore, this work of Songs and Poems can be said as the frrst long poem in the history of Korean Literature on Songs and Poem. Even if a little difficulty may exist in designating it as a long poem, it is considered unquestionable that it had arranged a key-point of a long poem for the future generations.