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고영섭 한국불교사학회 한국불교사연구소 2025 한국불교사연구 Vol.27 No.-
이 논문은 분황 원효(617~686)와 보조 지눌(1158~1210), 퇴계 이황(1501~1570)과 율곡 이이(1536~1584) 철학에 대한 해외 한국학 연구를검토하여 한류의 최후이자 정점으로 판단되는 철학 한류와 한국 문화의 어제와 오늘을 성찰하기 위한 글이다. 한류(Korean Wave)는 처음에 K-드라마/시네마가 선편을 잡았지만 이후 한류는 전 세계를무대로 하여 K-팝으로 이어지면서 큰 물살을 타기 시작하였다. 이에 힘입어 한류는 K-컬처로서 한식, 한복, 한옥, 뷰티, 등산, 방산등이 널리 알려지면서 중류나 일류와 차별화되었다. 2025년 현재한 세대의 역사를 지나는 한류는 1단계와 2단계를 넘어 3단계를 거쳐 마지막 4단계의 K-클래식으로 이어지고 있다. 논자는 현재의 단계에서 인문 한류의 기반을 이루고 있는 ‘철학 한류’의 현황과 과제를 한국의 철학자이자 사상가인 불교의 원효와 지눌, 유교의 이황과 이이에 대한 해외 한국학 연구를 통해 구명해보았다. 이들 철학자들은 모두 상구보리와 하화중생, 자기 수양과외적 구원을 향한 위기지학(爲己之學)의 길을 걸어갔던 수행자(경학자)이자 경세가였다. 그렇다면 이들의 이름으로 대표되는 철학 한류가 현재의 한류 흐름을 조금 더 확장하고 보다 더 활성화하기 위한 실질적이고 실천적인 방안으로는 어떤 것이 있을까. 철학 한류의 물결을 좀더 타기 위해서는 제도권 철학자들이 인간이해와 세계 인식을 통해 자아를 세계화하고 세계를 자아화하는 철학의 본령을 되찾아야 한다. 그리하여 만학의 제왕이었던 철학이미학 윤리학 종교학 언어학 등으로 분봉해 주었던 탈영토화된 철학의 영토를 재영토화하면서 시대정신과 역사의식에 기초한 담론으로철학하는 삶의 철학으로 탈바꿈해야 한다. 이를 위해 국내외 한국학을 활성화하기 위해서는 다음과 같은 몇 가지 노력이 요청된다. 첫째, 해외 한국학 연구들의 한국 철학에 대한 왜곡 여부와 새로운해석이 있는지에 대한 검토도 이루어져야 한다. 둘째, 해외 한국학의 활성화를 위해 한국학 연구를 위한 해외 사립대학 및 주립대학의 한국학연구소 개소와 연구를 위한 기금을 확보해야 한다. 셋째, 해외 한국학의 확산을 위해 주요 철학자들의 저술에 대한 번역과연구를 지속적으로 뒷받침할 수 있는 제도적 장치가 마련되어야 한다. 넷째, 이러한 물적 토대와 인적 토대의 기반 위에서 이들 철학자들의 사상에 대한 보다 깊이 있는 분석이 필요하다. This paper reflects on the past and present of the “Korean Philosophy Wave” and Korean culture, which I regard as the final and culminating phase of the broader Korean Wave. To this end, I examine overseas Korean studies on the philosophies of Bunhwang Wonhyo (617–686) and Bojo Jinul (1158–1210) in Buddhism, as well as Toegye Yi Hwang (1501 1570) and Yulgok Yi I (1536–1584) in Confucianism. The Korean Wave first emerged through K-dramas and cinema. As of 2025, it has gained global momentum, particularly through K-pop. Building on this popularity, the Korean Wave has expanded into K-culture, encompassing Korean cuisine (hansik), traditional attire (hanbok), architecture (hanok), beauty, hiking culture, and even the military industry —marking a clear distinction from the Chinese and Japanese Waves. Having passed through its first, second, and third phases, the Korean Wave is now entering its fourth and final stage: the rise of K-Classic. Nevertheless, I argue that the fourth stage of the Korean Wave—represented by the Korean Literature Wave and Korean History Wave— points toward its ultimate culmination in the Korean Philosophy Wave. By focusing on the present status and future challenges of overseas research on Korean philosophy, particularly regarding the representative thinkers Wonhyo, Jinul, Yi Hwang, and Yi I, this paper investigates the foundations of the Korean Humanities Wave. These philosophers, who pursued both personal enlightenment and the salvation of all beings, can be described as contemplative scholars and theorists who sought universal truth through rigorous self-discipline. In this context, I explore how the Korean Philosophy Wave, associated with these figures, might be expanded and activated as a concrete and practical extension of the broader Korean Wave. For philosophy to ride the tide of the Korean Wave, institutional philosophers must reclaim the original domain of philosophy—once considered the sovereign discipline of all studies—by deepening human understanding and insights into the world. Philosophy should be reconstituted as a discourse grounded in the spirit of the age and historical consciousness, encompassing ethics, aesthetics, religion, and language. Moreover, as a worldview that comprehensively embraces all domains of knowledge, philosophy must aim to grasp the entirety of the world through self-understanding. To further invigorate Korean studies domestically and internationally, the following efforts are essential: A critical examination of potential distortions and novel interpretations in overseas research on Korean philosophy; The establishment of Korean Studies Institutes at private and public universities abroad, along with securing research funding; Institutional support for the translation and study of major works by Korean philosophers to facilitate the spread of Korean studies globally; In-depth analysis of the thought of major Korean philosophers based on solid material and human resources.
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김한상 ( Han-sang Kim ) 한국불교사학회 한국불교사연구소 2016 문학/사학/철학 Vol.45 No.-
The present paper chronologically surveys and analyzes the contribution of Department of Buddhist Studies of Dongguk University to Korean Buddhist Studies. Department of Buddhist Studies of Dongguk University has been played an important role from the outset of Korean Buddhist Studies. Korean Buddhist Studies was in a position to leads Buddhist Studies in East Asia during the Unified Silla Dynasty, as was shown by activities of Uisang (義湘) and Wonhyo (元曉), but it declined until the beginning of nineteen century because of the popularization of Son chong (禪宗) and the suppression of Buddhism under the Choson dynasty. However, Buddhist Studies has restarted by the time of establishing Myeongjin School (明進學校) in 1906 and Jungang Buddhist School (中央佛敎學林) in 1916. Japanese Methodology of Buddhist Studies was generally introduced to Korean Buddhist Studies since the School raised to Jungang Buddhist College (中央佛敎專門學校) in 1930. After Korea``sindependent from Japan, Buddhist Studies was mainly conducted by Department of Buddhist Studies. Korean Buddhist Studies was officially initiated when Journal of Institute for Buddhist Culture (佛敎學報) was firstly published by Institute for Buddhist Culture (佛敎文化硏究院) in 1964. Buddhist Scholarship has been popular in other Universities across the country since the establishment of Korean Association for Buddhist Studies (韓國佛敎學會) in 1973. Its area has been extended from philosophical studies and historical studies into Interdisciplinary research and Applied sciences. International Association for Buddhist Thought and Culture (IABTC) was established in 2002 to promote the globalization of Korean Buddhist studies by encouraging comprehensive research of Buddhist thought and culture. This shows that Department of Buddhist Studies of Dongguk University still leads Korean Buddhist Studies. Such quantitative expansion and qualitative diversification of Korean Buddhist Studies could not be possible without Department of Buddhist Studies of Dongguk University. In this way, Department of Buddhist Studies of Dongguk University has been played an prominent role throughout the history of Korean Buddhist Studies. This golden age of Korean Buddhist Studies is a new challenge for taking-off and self-renovation for Department of Buddhist Studies of Dongguk University.
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윤소희 한국불교사학회 한국불교사연구소 2025 한국불교사연구 Vol.27 No.-
본고에서는 한국의 불교 악가무가 한류의 뿌리가 되었음을 음악사를 통해 고찰하였다. 불교와 함께 서역음악이 중국에 전래되면서중국 문화 전반에 유연성을 더했다면 한국은 범어와 같은 소리글자로 인해 음악과 춤이 지닌 역동성의 기폭제가 되었다. 인도, 중앙아시아를 비롯한 다층의 문화를 흡수하며 신라에 이른 악가무가 향토화되었음을 崔致遠의 鄕樂雜詠五首를 통해 확인하였고, 원효의 무애가에 나무아미타불을 노래하며 따랐던 민중은 21세기 ‘코리안 떼창’ 이 되어 한류의 아이콘이 되었다. 여기에는 ‘우리’라는 어우러짐의심성을 지닌 한국인이 메기고 받으며 노래해온 한국 민요의 바탕이있었다. 고려조의 팔관회와 연등회에서는 궁중악사들과 민간인이 함께하는산대 백희잡기가 성행했다. 이 무렵 한국 고유의 무속도 불교를 모방했으므로 오늘날 무가와 불교음악이 상통하는 점이 많다. 조선조의 세종임금이 창제한 정간보는 소리글자인 우리말의 역동성과 주체성이 만들어낸 결과였다. 악학궤범 에서 백성의 소리에 32妙應하는한글 唱詞는 부처님의 32상호와 일치하고, 이를 半切한 세조의 16정간은 16梵字 다라니와 世間大人의 治世念願과 더불어 리듬절주의 기능적 표기였다. 이후 한국음악의 역동성은 繁音促節을 거듭하여 전통가곡, 시조, 巫歌와 회심곡을 관통하는 8박 절주가 되었다. 조선 중기 이후 궁중에서 불교음악을 연주할 수 없게 되자 제반의불교음악이 민요 혹은 민간 예술음악으로 전환되었다. 장엄염불 가사였던 ‘江江水月來’가 ‘강강술래’ 민요가 되었는가하면 사찰 불교악가무는 유랑예인들의 연희가 되어 한류와 K팝의 원동력이 되었다. 이제 음악 이론을 몰라도 AI를 통해 작곡을 할 수 있는 시대가 되었다. 21세기를 리더하는 K불교 악가무가 되기 위해서는 한국불교음악의 역사·문화적 배경에 대한 깊은 이해가 있어야 한국적 고유성이살아있는 불교음악을 생성할 수 있다. 한국불교의 정체성에 기반한심미적 감각과 창의성이 미래 K부디즘의 성공의 열쇠가 될 것이다. In this paper, I researched the produce that Korean Buddhist music and dance became the root of the Korean Wave and K-pop through the historical flow of music that runs through India, China, and Korea. While Indian and middle Asia music was introduced to China along with Buddhism, flexibility was added to the overall Chinese culture, and Korea became a catalyst for the dynamism of music and dance due to its phonetic script, such as Sanskrit. Silla unified the three kingdoms and absorbed the multi-layered cultures of the Three Kingdoms, India, and Central Asia, and made Buddhist culture flourish. At that time, the people who sang Namu Amitabha Buddha and followed Wonhyo’s Muaega(無碍歌). It became the 21st century “Ttechang(Sing along)” and became the icons of the Korean Wave. There was the DNA of Koreans who had a culture of harmony called “us”. In the Goryeo Dynasty’s Palgwanhoe(八關會) and Yeondeunghoe(燃燈 會), the Sandae Baekhee(山臺百戲)with various performances was popular. The Palgwahoe, which was originally a ritual performed to local gods, was transformed into a Buddhist ritual and Korean shamanism imitated Buddhism. As the result today’s Korean shaman songs and Buddhist music have many similarities. During the Joseon Dynasty, King Sejong created Jeongganbo with 32 spaces, a musical notation that could indicate the length of notes, also connected to the 32 holy and wise aspects of the Buddha. The 32-jeongganbo was changed to 16-jeonggan by King Sejo, making it a more functional musical notation, and is still being passed down today as traditional Korean music with the common characteristic of 8 beats like Sijo, traditional lyric songs, shamanic songs etc. Since the mid-Joseon Dynasty, when Buddhist music was not allowed to be performed in the royal court, various Buddhist ritual music and dancing of the Goryeo Dynasty, permeated the public and transformed into folk songs or general performing arts. Buddhist ritual music and dance at temples became the performances of traveling entertainers and became the driving force of Hallyu and K-pop. However, since music and dance that has lost its Buddhist identity cannot be called Buddhism, we need to be wary of the negative effects that hinder religious dharma. In order to become a K-Buddhism that leads the 21st century, dharma and sincerity that transcend the secular world are vital.
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한국문학에 그려진 원효(元曉)의 삶과 사상 ― 소설문학을 중심으로 ―
정효구 ( Jeong Hyo-goo ) 한국불교사학회 한국불교사연구소 2017 한국불교사연구 Vol.11 No.-
In the contemporary history of Korean literature, Wonhyo has been dealt with in works, not only novels but poems as well. To poets, Wonhyo is regarded as a great Buddhist priest of high virtue to discuss the present, solve problems in it, and open the new era in terms of both sides that are as the subject matter and spiritual being, and to novelist, too, Wonhyo is a significant object in dealing with him as an individual, the nation, the people, modernism, mankind, and something beyond humans. This study will be more focused on the works of novels. This author will mainly explore Yi Gwang-Su`s Wonhyo, Great Monk, Han Seung-Won`s Novel, Wonhyo, Kim Seon-Woo`s Sacred Vow: Yoseok & Wonhyo, and Sim Yun-Gyeong`s Cheongwansa. The results of this study can be summed up as follows: First, although these four works are different in some ways, they all find out modernity and the world beyond modernity from Wonhyo, a person from Silla, at the same time and recall past modernity and suggest things for the world beyond modernity afterwards. Second, although these four works are different in some ways, they all find out the people and the world beyond the people from Wonhyo and view not only ethnic reality and identity but also the post-historic world beyond the people from him. Third, although these four works are different in some ways, they all focus on apostatizing (Eros) and the matter beyond apostatizing (Eros). The matter of apostatizing is discussed at the spot to examine the fundamental commandments of Buddhism, and that beyond apostatizing is done in recognizing the expedient that apostatizing is equipped with and develop the matter of true freedom. Lastly, these four works depicts Wonhyo as a figure that we truly love and adore and that can open a new era in which all problems we have now can be resolved. Too much love towards Wonhyo sometimes impedes reality within the works, but it should be stressed enough that by discovering Wonhyo, we can design and look ahead to the future within ethnic and human pride. This is an abstract so does not contain all the little differences found among them. The body of this paper will particularly deal with the pro-Japanese issue around Yi Gwang-Su, Kim Seon-Woo`s feminism, Han Seung-Won`s admiration about saints, and also Sim Yun-Gyeong`s yearning for the world of Flower Garland.
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