한국 수륙재의 융합적 특성

Abstract

In this study, I have attempted to describe the differences between the Korean Buddhist Suryukjae ritual and its Chinese and Tibetan counterparts. A Korean Suryukjae performance is in fact an amalgam of Chinese text, Tibetan practice, and Korean cultural influences. The ritual text and incineration ceremony are of Chinese origin. The dancing, the playing musical instrument like brass wind, the Guebul (Tanga) and all program is performed only by monks within the temple grounds. Finally, the addition of Korean art renders the performance uniquely Korean. Due to a history of discontinuity in performance practice, today's Korean Suryukjae may be paradoxically more traditional than its predecessor, having ceased to attract government support over time. A typical Korean feature, for example, would have been the indigenous movements of the court and folk dancing performed in traditional dress. Koreans have enjoyed 'fusionising' performance art throughout history. The royal courts of the Silla empire would perform celebratory Chinese and Korean music in turn. The Joseon era royal ancestral rites at the Jongmyo Shrine were played by a combination of Chinese and Korean instruments within a Chinese ritual frame. So it would not be exceptional for the Suryukjae to be performed in this blended way. The idea was to create something beautiful and to outdo the original. And this is an important lesson for the future of global culture, that, in accordance with the Buddhist Dharma, we possess and reproduce the identity unique to this adapted form of Suryukjae.