향가와 萬葉集 작품의 불교 형상화 방식 비교 연구

Abstract

This paper investigated the method of Buddhist formalization in Hyangga and Manyoshu, comparatively, and main findings are as follow. First, names of Buddha and terminology related to Buddhism are used for necessary materials to formalize subjects directed to Buddhist world in Hyangga. Contrary, names of Buddha are seldom found in Manyoshu. Buddhist terminologies are used as a means to rationalize human life, express helplessness, describe sexual content, or formalize satirical contents. Second, materials related to nature in Hyang-ga are speculative and used to formalize Buddhist religious world. On the other hand, materials of Buddhist related works in Manyoshu are emphatically formalize the characteristics of Japanese marine culture, of sun-oriented religion, of visual culture attaching importance to color, and of lyrical and scenic quality emphasizing natural features. Third, Hyangga describes and formalize poems toward future-oriented works to arrive the goal of religious devotion and incarnation. Its satiricalness is religious one leading to seriousness. Descriptive method in Manyoshu is sentimental one of past recollection and depends much on indirect moral suasion to formalize satirical contents. Fourth, reasons for the lack of Buddhist nature in poems in Manyoshu are traced to poems' contents, environmental characters of Japanese Buddhism, environmental character of emphasizing social life in creative writing, and less development stage of Buddhism until that time. Fifth, Hyangga poems' structure, as it is the sorcery structure of the powerfulness of Buddha, reveals the nature of Esoteric Buddhism. Also, poems in Hyang-ga concentrate the contents in close relation to background tales. Poems related to Buddhism in Manyoshu do not show any significant difference with other poems in structure. The reasons are traced to the points that they lack Buddhist nature and do not differ with general poems in contents.