茶山 丁若鏞의 佛敎詩에 관한 一考察

Abstract

Dasan's awareness of the real world, which could be the background to his creation of Buddhist poems, is roughly based on the Buddhist scripture『Banyagyeong』, understands all things in the world as no real things, fabricated things, or illusioned beings. Dasan, however, is not disappointed or does not negate such a world, and overcomes through the Buddhist middle-road emptiness truth, a belief of all things returning to emptiness. Yet, he embodies his out-of-the-world ideal theory, Buddhist middle-road emptiness truth system, in his poetry through his poetic imagination. In other words, clean and clear poems are Tathātā (truthfulness) of the poet's own nature of being clean and clear, so he insists on poetry and Tathātā being not the two but one. The poetic aesthetics of cleanness, clearness, truth, equality, and not being the two are considered the major part of Dasan's poetry theory and poem imagining based on Buddhist Zen performance. As such, Dasan's aesthetics are considered depending on Buddhist scripture 『Neungeomgyeong』's Five Skandhas and Illusions and Tathāgatagarbha sūtras true suchness, 『Daeseunggisillon』(Awakening of Faith in the Mahāyāna)'s One Heart Two Gates (thusness, gate of life and destruction), 『Banyagyeong』's emptiness, and『Yumagyeong』's thought of not being the two. In particular, Dasan's theory of ‘poetry being equal to Tathātā' shows yet another aspect different from the first-half 19th-century Sin Wi and Kim Jeong-hui-led discussion of Zen and poetry being one, suggesting that he is a significant part of the Korean history of Chinese classical poetry.