18세기 승려 괄허취여(括虛取如)의 문학 세계

Abstract

Gwalheo Chwiyeo (1720‐1789) noted on the temples of Mungyeong and Sangju in Yeongnam in the 18th century and left anthology Gwalheojip as a disciplinant who strictly obeyed the Buddhism rules. Gwalheo and his literature rarely received much attention in literary history or Buddhist history, except for one of the Zen studies papers looking for reasons for Zen through landscape poems. In this article, we examined the progress of the publication of Gwalheojip, the criticism of preface and epilogue, and the world of poetry and prose. As a result, it was found that the poem of Great monk reflects the lyric world from the process of self‐discipline and the image of Great monk who was strict in the rules and that this was implemented in poetry or Seol (a writing style), which encourages the followers to follow the right path. In addition, the great monk interacted with the famous Confucianists of the time, such as Kwong Sang‐il and Jeong Beom‐jo, with whom there was a common denominator in the disciplinary attitude and the spiritual world of the Confucianists. Great monk's <Unsanga> and <Jongpunggok> revealed that they continued the tradition of Imjejong Zen monks in East Asia in the direction, theme, and expression of the work. About thirty pieces of his prose occupied most of the Gimun and Sangryangmun and Balwonmun associated with the palatial residence, Buddhist statues, altar portraits of Buddha in the temples in Mungyeong and Sangju where the great monk had commented on. Each Gimun consists of a foreground depiction of the temple, a description of the historical footprints, and a way of presenting the current person and situation. This is not to say, but to a limited extent, the Sino‐Korean literature of the Buddhist sect as a concrete example of the spaceness and placeness of the area. In this sense, it is estimated that the great monk’s literature was evaluated as having enough value as a local literature.