불교계 경기체가의 후절 구성 방식 연구

Abstract

This thesis covers the matter of the way Buddhist kyonggiche-ga(景幾體歌) consisted of and formed itself contextually. In creation of kyonggiche-ga, generally, the latter lines’ composition implies considerably significant meaning. Considering the fact that the pieces had been composed only by post lines as the format of kyonggiche-ga start to be changed, important enough are latter lines of kyonggiche-ga’s independency and significance on composition of meaning. How monks borrowed the style of kyonggiche-ga from confucian scholars who had enjoyed it for propagational purpose is a significant factor which determines the feature of kyonggiche-ga genre. Although several factors have to be pondered, the most important should be the original texts’ character and information about its actual playing in the past times. Considering characters of original texts and the way it was contained, it can be said that most of the pieces focused on the completion of contents, rather than their actual playing. Therefore composition of kyonggiche-ga’s latter lines should not be generalized as repetitive listing and emphasizing, but as effective means for completion of contents. Composition of Buddhist kyonggiche-ga‘s latter lines is mostly done by three of ‘Consicion and Repetition’, ‘Image association’ and ‘Citation from scriptures and phrase about Zen’. Additionally, They focuses on correlative formation with the former lines, compared to other kyonggiche-ga pieces, which confirms that monks had created Buddhist kyonggiche-ga focusing on propagation of Buddhist doctrines and conveying Buddhist ideology. It also proves that they did not just ‘repeat’ or ‘reproduce’ them although they were borrowed from other society for propagational purpose. In other words, considering they adopt this genre when the independency of latter lines got reinforced but created different, it shows the independent side of Buddhists’ creation.