몽골 ‘참’과 한국 ‘영산재’의 비교 연구 (Comparative Study of Mongol’s ‘Tsam’ with Korea’s ‘Yeongsanjae’)

서지정보

· 발행기관 : 한국몽골학회
· 수록지 정보 : 몽골학 / 32호 / 415 ~ 440페이지
· 저자명 : 박소현

초록

The purpose of this study was to discuss potential correlations of Mongol’s Tsam with Korea’s Yeongsanjae - both of which have been performed in a common context of Buddhist ritual - in their historical, religious and musical cultural context with regard to religious ceremony or musical culture.
Mongol’s Tsam has a common point with Korea’s Yeongsanjae: Both originated from their contemporary age, i.e. Yuan and Goryeo Dynasty respectively. In religious aspect, Mongol’s Tsam is in the same context with Korea’s Yeongsanjae in the sense that both aims to make a wish for supreme bliss by seeking Buddhist canon. However, these two ceremonies are somewhat different from each other in that the former has a strong sense of expelling sundry evil spirits, whereas the latter is a sort of service for the repose of any departed soul to live eternally in the paradise. As to ritual performance,Mongol’s Tsam is a Mongolian traditional mask dance that is characterized by a Buddhist ritual based on comprehensive performing art - in a harmony of theater, dance and music - with strong theatrical nature, whereas Korea’s Yeongsanjae are performed primarily with singing and dancing.
Both Tsam and Yeongsanjae are common with each other in the musical orchestration of wind instrument and percussion, and their orchestration is also composed of comparable wind instrument (Mongol’s bishguur and Korea’s Taepyeongso) for major melodic developments. In the strict sense, however,Tsam is musically different from Yeongsanjae: The former is consistently played with regular rhythm patterns and repetend based on quadruple time and pentatonic scale, while the latter is characterized by appropriate use of various musical pieces under the ritual on the basis of triple time and hexatonic scale.
Moreover, the latter is also characterized by the insertion of original sound in parallel with Sigimsae, a unique style of Korean traditional music, so it is performed in more complex melodic lines than the former.
Currently, Mongol’s Tsam has been restored by old lama priests in 1990’s,but has been modeled after Tibetan style of Tsam for more precise musical restoration. Here, it is notable that the archetype (original form) of Mongol’s Tsam, a prosperous Mongolian musical style in the 18th to 19th century, has been not fully restored. In the same context, it is necessary to make a further and sufficient series of follow-up studies on Korea’s Yeongsanjae in order to restore its full archetype from the past, although it has been also recently downscaled.

영어초록

The purpose of this study was to discuss potential correlations of Mongol’s Tsam with Korea’s Yeongsanjae - both of which have been performed in a common context of Buddhist ritual - in their historical, religious and musical cultural context with regard to religious ceremony or musical culture.
Mongol’s Tsam has a common point with Korea’s Yeongsanjae: Both originated from their contemporary age, i.e. Yuan and Goryeo Dynasty respectively. In religious aspect, Mongol’s Tsam is in the same context with Korea’s Yeongsanjae in the sense that both aims to make a wish for supreme bliss by seeking Buddhist canon. However, these two ceremonies are somewhat different from each other in that the former has a strong sense of expelling sundry evil spirits, whereas the latter is a sort of service for the repose of any departed soul to live eternally in the paradise. As to ritual performance,Mongol’s Tsam is a Mongolian traditional mask dance that is characterized by a Buddhist ritual based on comprehensive performing art - in a harmony of theater, dance and music - with strong theatrical nature, whereas Korea’s Yeongsanjae are performed primarily with singing and dancing.
Both Tsam and Yeongsanjae are common with each other in the musical orchestration of wind instrument and percussion, and their orchestration is also composed of comparable wind instrument (Mongol’s bishguur and Korea’s Taepyeongso) for major melodic developments. In the strict sense, however,Tsam is musically different from Yeongsanjae: The former is consistently played with regular rhythm patterns and repetend based on quadruple time and pentatonic scale, while the latter is characterized by appropriate use of various musical pieces under the ritual on the basis of triple time and hexatonic scale.
Moreover, the latter is also characterized by the insertion of original sound in parallel with Sigimsae, a unique style of Korean traditional music, so it is performed in more complex melodic lines than the former.
Currently, Mongol’s Tsam has been restored by old lama priests in 1990’s,but has been modeled after Tibetan style of Tsam for more precise musical restoration. Here, it is notable that the archetype (original form) of Mongol’s Tsam, a prosperous Mongolian musical style in the 18th to 19th century, has been not fully restored. In the same context, it is necessary to make a further and sufficient series of follow-up studies on Korea’s Yeongsanjae in order to restore its full archetype from the past, although it has been also recently downscaled.

참고자료

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