전통수륙의문의 재차와 그 미학

Abstract

The program of Suryukjae(水陸齋; the Offering ritual for land and water) held in Samhwasa, Jingwansa and Baekwoonsa and so on, which is a national intangible cultural property, turned out to be the combined one following the conduct of Yeongasnjae(靈山齊, Vulture Peak ritual). Its original script is Gyeolsumun(結手文; making mudrās) and Jungryemun(中禮文; the ritual program in epitome) and it was compiled such that it was suitable for performing during two or three days. The original program of the traditional ritual has basically the same structure as the current ones such as Doryanggyeolgye(道場結界; the Fixed territory for bodhi-mandala), Eomjeong(嚴淨; Complete purification), the invitation of beings for three platforms, the ceremony of bathing them, Gongyang(供養; Offering) and Sisik (施食; Banquet). But it dispenses with the ceremony of bathing depending on the full or brief ritual, holds service of offering after inviting beings for three platforms and the conduct of Yeongasnjae and adds Daeryeong(對靈; the rite of calling in the soul) and Bunsujakbeop(焚修作法; The conduct for the extinction of hindrance of karma and the merit), which become standardized. Siryeon(侍輦, the Rite of serving a sedan chair), which became the first ceremony in the current Suryukjae generally, was a kind of rite of transferring differing from its current concept. Buyeo Backjae suryukjae is similar to the 17th century Pyeongyang Cheonbyeon in the aspect of the main agent in cluding its purpose and venue and has the idea of complete interpenetration. Also, in terms of its ritual oration and performance, it is completely interpenetrate by being based on the conventional Gyeolsumun in its region, accepting the organization of Cheonjimyeongam beomeum sanbbojip(the collection of Brahma voice of heaven and earth in light and shade) and being actively taken part in by the members of Eosan(the monks or nuns singing a Buddhist ritual song) and its preservation association. It shows different feature from other Suryukjae getting unified, through realizing Mucha(無遮; no restriction) for the equality in the ritual oration and accepting the difference of the upper and the lower in the ceremony of Byeonsik(變食, changing the food). It plays its natural role in the basic equality of the offering ritual assembly with the alter, the offering ceremony of Byeonsik and participants’ dressing. Thus it reproduces the appropriate ritual of its meaning and represents the aesthetic of the equality and the difference in the performance of and the assembly for the offering ritual.