신라의 오방 관념과 <처용가> 형성 과정의 한 단서 -신라 동악 토함산의 상징성과 그 변천을 고려하여-

Abstract

It is necessary to re-examine the concept of Five Directions in Silla by including not only the Five mountains that were emphasized before but also the symbols of landscape such as Four Jins, Four Seas, and Four Waters. This widely includes the elements of mountainous religious belief that existed from the early days of the foundation of Silla Dynasty, notion of four directions and the world shown on the monuments commemorating King Jinheung’s tour, as well as the Five Parts and Five Directions in Koguryo and Paekje. During this process, geographical elements that can be Five mountains of capital and Five mountains of Silla were not clearly distinguished and were mixed together. This was the process of developing Silla’s own concept of Five Directions by encompassing Buddhism, a high religion from the outside, its unique religion, maritime characteristics, and regionality. Thus, there must be room left to a possibility that Silla shared religious elements related to Five Directions with Koguryo and Paekje. Cheoyong in Silla appeared after the 9th century and became a subject symbolizing ‘East’. However, what symbolized the East in terms of the Five Directions of Silla until the 8th century was Toham Mountain. At first, Tohamsan Mountain was a sacred place related to the advent myth of Seoktalhae, but its religious characteristics grew more than anything else through the construction of Bulguksa Temple and Seokguram Grotto. However, in the late Silla Dynasty after the 9th, a new cultural symbol with greater maritime and geographical characteristics rather than religious became more necessary. Thereofre, Cheoyong, Ulsan, and Manghaesa Temple appeared to replace or complement the existing Tohamsan Mountain. Accordingly, Cheoyong began taking up more part than other mountain gods such as Namsan, Bukak, and Jungak, in its tale, it could appear side by side. It means that there is a possibility to add to Cheoyong’s personality that he was the successor of Talhae, a god-like figure of Tohamsan Monutain in the past. Third, through Koryo Dynasty’s cultural traditions, Cheoyong was elevated to a being symbolizing not only the East but all of the Five Directions. The Korean classical music assumes that such change occurred during King Sejong of Chosun Dynasty, but it is necessary to recall the possibility of finding the origin from Palgwanhoi Ritual and furthermore, Silla’s concept of Five Directions.