• Journal of the Daesoon Academy of Sciences
• /
• v.21
• /
• pp.285-322
• /
• 2013

本论文是关于"九天应元雷声普化天尊"的信仰, 是亚洲特别是在韩国和中国所具有的地位, 是怎样演变过来的, 同时还要考察它所蕴含的意义。即是在不能清楚的理解对"九天应元雷声普化天尊"的基本信仰的状态下, 关于对大巡真理会的传统信仰"九天应元雷声普化天尊" 进行讨论时, 稍有不慎便有可能出现非合理性的矛盾理论。所以作为关于中国和韩国的『玉枢经』的混乱和误会的再声明, 历史的长流所带来的对『玉枢经』的误导, 通过容纳和批判一起作为对关于大巡真理会的"九天应元雷声普化天尊"信仰的神学的基础解说。中国元朝的时候道教是非常受敬重的, 然而在道教和佛教辩论时, 道教惨败之后(1256年, 1281年), 在道教的衰退期时, 因道人们的意愿, "九天应元雷声普化天尊"显现, 并且记录了天尊所说的话的『玉枢经』, 在明世宗(在位:1521-1566年)以后开始遭到士大夫和外面的百姓们的抨击。理由是明世宗热衷于研制"不死药", 而在政治上荒废朝政。还有从严蒿开始受到政治镇压的王世贞第一次对『玉枢经』作出了学者性的误导解说, 这使给受到明朝文化影响的朝鲜的士大夫, 传达了对『玉枢经』误导, 这也是成为传播到朝鲜重要证据。从朝鲜建国开始, 虽然当时儒教作为国家的统治理念, 但是作为消除国家灾难的神位, 在朝鲜初期时得到了很多优待的事实在许多文献里都有体现。这样一本记录了受到优待的"雷声普化天尊"教导的『玉枢经』, 因英祖的儿子思悼世子读过这本书之后便开始生病(1752-1762年), 作为世子不只是在政治上没有力量, 反而父亲英祖先被杀害。这样类似的事件使『玉枢经』从左序那里得出被驳倒的结果, 再进一步, 『玉枢经』在政治方面和学文方面同时受到世俗抨击。介于这样相同的中韩脉络对『玉枢经』的认识, "九天应元雷声普化天尊"作为道教的最高神位而从主流信仰里被排挤出来。和这一样历史的"九天应元雷声普化天尊", 关于世俗的隐退推移, 作为大巡真理会的最高神位重新登场的"九天应元雷声普化天尊"信仰是关系到大巡真理会的宗统并且是具有时代意义的谨慎的类比推论。

• (The)Study of the Eastern Classic
• /
• no.70
• /
• pp.59-89
• /
• 2018

This thesis examines that Shin-Heum(申欽)'s Uigoakbu(擬古樂府) was created under the context of acceptance of the Ming Dynasty's literary theory, and searched the influence of the former and latter seven master(前後七子)'s methodology of imitation through analysis of "Han-Yoga(漢?歌)" 18 songs. As well as Shin-Heum created unprecedented number of uigoakbu, he conducted imitation to "Han-Yoga(漢?歌)" 18 songs for the first time in the Joseon Dynasty. This was attributed to deep interest about the Ming Dynasty's literary theory in the middle of the Joseon Dynasty. Agreeing to the Ming Dynasty's reactionism literary theory, he hoped to reproduce the literature of the past such as the Han(漢) Dynasty and Wei(魏) Dynasty by using methodology of imitation. So he created his works referencing the Ming Dynasty's uigoakbu in both expression and subject consciousness. This aspect is not only a basis to widen the understanding of the motive of creation and existence pattern of Shin-Heum's uigoakbu that have not been studied in enough interest, but also a case to show that the former and latter seven master's literary orientation and methodology of imitation were deeply accepted by the Joseon dynasty's writers.