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This article examines perceptions of Uisang (義相), the founding patriarch of Haedong (Korean) Hwaeom, within the Buddhist community of the Joseon period; the interpretive tendencies and characteristics associated with Uisang’s Ilseung beopgyedo 一乘法界圖 (hereafter Beopgyedo ); the trajectory and features of twentieth-century scholarship on Uisang’s Hwaeom thought; and the debates surrounding the identification of Uisang’s Hwaeom with the doctrine of nature-origination (seonggi; 性起). During the Joseon period, Uisang was remembered, alongside Wonhyo (元曉), as the founder of several monasteries and as a Hwaeom patriarch, and his legacy was clearly remembered in Buddhist historical writings. At the same time, debate arose over whether the final character in his name should be written as 相 or 湘. Notably, two commentaries on the Beopgyedosi 法界圖詩 of Uisang’s Beopgyedo have been transmitted: Seoljam 雪岑 Kim Si-seup’s 金時習 (fl. 15th century) Dae Hwaeom beopgyedo jubyeongseo 大華嚴法界圖註幷序 and Dobong Yumun’s 道峰有聞 (fl. 18th century) Beopseong ge gwaju 法性偈科註. Their interpretive tendencies can be characterized, respectively, as a synthesis of Seon and Hwaeom and as an emphasis on dharma-nature. In the case of Kim Si-seup, one can discern affinities with the position of Bojo Jinul 普照知訥, who understood Uisang’s notion of dharma-nature in terms of the unity of Seon and Gyo and the framework of sudden awakening followed by gradual cultivation.
An examination of modern scholarship further shows that, in the first half of the twentieth century, the identification of the founding patriarch of Haedong Hwaeom developed in three stages: first Wonhyo alone, then Wonhyo and Uisang together, and finally Uisang alone. It is also noteworthy that theDaejang byeollok 大藏別錄, compiled during the carving of the Goryeo canon, mentions the Bunhwang school associated with Wonhyo in addition to the Uisang lineage of Hwaeom. As Korean and Japanese scholars subsequently illuminated the distinctive features of Uisang’s Hwaeom thought, its practical dimension and its orientation toward the Middle Way came to be increasingly emphasized. Finally, this article reviews the arguments for and against the influential view, prominent since the 1980s, that Uisang’s Hwaeom is fundamentally a doctrine of nature-origination. It also notes that, as the Hwaeomgyeong mundap 華嚴經問答 has come to be firmly established as a work by Uisang, the claim that nature-origination and dependent origination are inseparably related has gained increasing support. By tracing the major tendencies in the Joseon-period transmission of Uisang’s Hwaeom and providing a periodized overview of modern and contemporary scholarship, this article offers a foundational analysis for identifying new directions in future research.
An examination of modern scholarship further shows that, in the first half of the twentieth century, the identification of the founding patriarch of Haedong Hwaeom developed in three stages: first Wonhyo alone, then Wonhyo and Uisang together, and finally Uisang alone. It is also noteworthy that the
이 글에서는 해동 화엄의 초조 의상(義相)에 대한 조선시대 불교계의 인식, 의상의 『일승법계도(一乘法界圖)』에 대한 이해 경향과 특징, 20세기 의상 화엄 연구사의 흐름과 특성, 그리고 ‘의상 화엄=성기(性起) 사상’에 대한 찬반 논의를 살펴보았다. 조선시대에 의상은 원효(元曉)와 함께 몇몇 사찰의 창건주이자 화엄 조사로서 이름이 알려져 있었다. 특히 불교 역사서에서 의상이 뚜렷이 기억되고 있음을 볼 수 있다. 또 당시에도 의상의 상이 ‘相’인지 ‘湘’인지에 대한 논란이 일었다. 무엇보다 의상 『법계도』의 「법계도시(法界圖詩)」에 대한 주석서로 15세기 설잠(雪岑) 김시습(金時習)의 『대화엄법계도주병서(大華嚴法界圖註幷序)』, 18세기 도봉 유문(道峰有聞)의 『법성게과주(法性偈科註)』가 전해지는데, 그 이해 경향은 각각 선과 화엄의 융합, 법성의 중시로 파악되고 있다. 설잠의 경우 의상의 법성에 대해 선교일치, 돈오점수의 관점에서 이해한 보조 지눌(普照知訥)의 입장과 공통점을 찾을 수 있다.
한편 20세기 전반에 해동 화엄의 개조로 의상이 확정되는 과정을 연구사의 흐름 속에서 검토한 결과, 원효 → 원효·의상 → 의상의 순서로 전개되었음을 확인하였다. 또한 고려대장경을 판각할 때 작성된 『대장별록(大藏別祿)』에서 의상계 화엄 외에 원효 계통의 분황종(芬皇宗)을 언급한 것도 흥미롭다. 이어 한국과 일본 연구자들에 의해 의상 화엄의 고유한 특성이 조명되면서 실천적 측면과 중도적 관점이 강조되었다. 끝으로 1980년대 이후 부상한 ‘의상 화엄=성기 사상’의 내용과 그에 대한 찬반 논의를 정리하였고, 『화엄경문답』이 의상의 저작임이 분명해지면서 성기와 연기가 불가분의 관계라는 주장이 점차 커졌음에 주목하였다. 이 글에서는 조선시대 의상 화엄 사상 계승의 경향과 특징을 정리하고 근현대 연구사의 지형을 시기별로 개관함으로써, 어떤 문제의식으로 새로운 연구 방향을 설정할 것인지, 향후의 전망을 위한 기초적 검토를 시도해 보았다.
한편 20세기 전반에 해동 화엄의 개조로 의상이 확정되는 과정을 연구사의 흐름 속에서 검토한 결과, 원효 → 원효·의상 → 의상의 순서로 전개되었음을 확인하였다. 또한 고려대장경을 판각할 때 작성된 『대장별록(大藏別祿)』에서 의상계 화엄 외에 원효 계통의 분황종(芬皇宗)을 언급한 것도 흥미롭다. 이어 한국과 일본 연구자들에 의해 의상 화엄의 고유한 특성이 조명되면서 실천적 측면과 중도적 관점이 강조되었다. 끝으로 1980년대 이후 부상한 ‘의상 화엄=성기 사상’의 내용과 그에 대한 찬반 논의를 정리하였고, 『화엄경문답』이 의상의 저작임이 분명해지면서 성기와 연기가 불가분의 관계라는 주장이 점차 커졌음에 주목하였다. 이 글에서는 조선시대 의상 화엄 사상 계승의 경향과 특징을 정리하고 근현대 연구사의 지형을 시기별로 개관함으로써, 어떤 문제의식으로 새로운 연구 방향을 설정할 것인지, 향후의 전망을 위한 기초적 검토를 시도해 보았다.
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◆ 약호 및 일차 문헌 Abbreviations and Primary Sources
◆ 이차 문헌 Secondary Literature
- Publisher :Korean Association of Buddhist Studies
- Publisher(Ko) :불교학연구회
- Journal Title :Korean Journal of Buddhist Studies
- Journal Title(Ko) :불교학연구
- Volume : 86
- Pages :143∼175
- DOI :https://doi.org/10.21482/jbs.86..202603.143


Korean Journal of Buddhist Studies






