티베트의 라마 참과 한국의 처용무관계에서 무형문화의 이동 가능성

Abstract

The present research aimed to investigate the possible connection between Tibet’s Lama Chram and the Chur Yong mythology, which serve as the foundation of the Chur Yong Mu, as well as the possible circulation of intangible cultural assets by reviewing old literature. First, Chram (姜姆), a type of Jang Hee (藏戱), is a shaman dance(巫舞), a type of Jang Geuk(藏劇), a traditional theater play. Charm is an integrated art expressed by songs and dances commonly performed in Tibet. It is a primitive and religious memorial ritual, as well as a traditional驅儺 activity. Lama Charm of Tibet has a history of around 60 years, where it was began by a performing arts group for fundraising purposes. Second, the events described in Chur Yong mythology are slightly far from the scientific truth pursued by modern society. Unlike other historical topics written by multiple historians, the Chur Yong mythology were written by one person (Il Yun, a Buddhist monk) in a book called The Heritage of Three States (Sam Guk Yu Sa). As such, the book may very likely reflect the personal ideas of the author, and the ideas of the time may have influenced the narrative of the story. Most Korean traditional dances (performing arts) are spontaneous. Meanwhile, naturally developed dances prefer expressing emotional gestures. Chur Yong Mu includes story(古事), and although it went through some variations throughout the years, the dance steps and costumes show its unique characteristics. Especially, the masks used in Chur Yong Mu are extremely unique compared with other Korean masks. Third, one of the entities that contributed to the Silk Road becoming a major area for trading between the East and the West was a group commonly called “Saeng Ho (生互)”, a company of merchants from Persia, Sogdia, Arabia, Hee Hol, and Jews , among other countries bordering western China. Saeng Ho was not only an important entity in the transportation of goods but also played an important role in circulating intangible cultural assets. Saeng Ho was active, and the artistic tastes of its members may have contributed greatly in the cultural exchange. Fourth, Jang Hee originated in Tibet in the early 14th century, or 1266 to 1289 years later than The Heritage of Three States (Sam Guk Yu Sa), which was written in 1145. Furthermore, the Chur Yong mythology and Buddhist-influenced mythologys of Tibet are extremely similar in context. Judging from the path of how intangible cultural assets were transported through the Silk Road, the artistic taste of the Saeng Ho members and their role were influential. From such observations, this dissertation offers the possibility that Chur Yong could be of Sogdian origin, brought by the Sogdia, one of the Saeng Ho groups of Central Asia with great artistic taste. A dance similar to Chur Yong Mu that is performed in the Lama Charm was introduced from Korea. Chur Yong, the titular character in the Chur Yong mythology, is presumed to be a Sogdian from Central Asia who came to Korea through the Silk Road. In addition, apart from the stories, the Chur Yong mythology heavily convey the characteristics of Buddhism, and this detail itself could be judged as an introduction of new ideology through the Silk Road as well. Overall, the Silk Road contributed greatly to the cultural exchange between Central Asia and its eastern neighbors, all the way to Ulsan, one of the corners of the Korean peninsula. Furthermore, as the Silk Road includes both land and sea routes that connect the East and the West, the northeast end may not be Korea. Indeed, the type of culture introduced and the manner of such introduction are extremely important influences in the follow up research on the development of culture. The Lama Charm of Tibet and Chur Yong Mu of Korea are not similar cultural aspects that were developed in completely different regions. They were established after a series of cultural exchanges, and presently, they have become a heritage of the interaction among intangible cultural assets of humanity.