본고는 한국 만두문화의 기원이 되는 고려시기 만두문화의 전체상을 조망 하기 위한 고찰이다. 선행연구들은 고려말 충렬왕 시기 『쌍화점』의 ‘쌍화’를 한국 만두의 기원으로 간주해오고 있다. 그러나 고려사회는 ‘불교사찰의 채 식만두문화’와 ‘왕실과 민간사회의 육식만두문화’가 『쌍화점』의 ‘쌍화’ 이전 시기부터 고려사회에 정착하여 지속되어 오고 있었음을 밝힌다. 고려 불교채식만두는 13세기 초 수선사 2세인 진각국사 혜심의 『조계진각 국사어록』에 등장하는 불교채식만두인 ‘산함(餕餡)’과 이규보의 『동국이상국 집』에 언급된, 이규보가 평소 교류가 있었던 기선사(其禪師)로부터 받은 만 두류 음식인 ‘혼돈(餛飩)’을 통해 확인된다. 이 시기에 고려불교사찰은 아침 메뉴로 전통적인 죽과 더불어 만두류 음식인 혼돈을 식용하였을 것으로 생각 된다. 고려시대 육식만두의 전통은 국가행사인 연등회와 팔관회의 의례 속에 등 장하는 ‘쌍하(雙下)만두’와 고려가요 속에 언급된 『쌍화점』의 ‘쌍화만두’를 통해 살펴볼 수 있다. ‘쌍하’는 당시 동아시아 왕실과 사신접대에 등장하는 만두류 음식으로 낙타의 육봉을 속재료로 한 왕실연향에서 사용되는 ‘쌍하타 봉각자(雙下駝峰角子)’와 사신접대 등에 사용되는 타봉을 사용하지 않은 ‘쌍 화관장만두(雙下灌漿饅頭)’나 ‘쌍하각자(雙下角子)’등으로 구분된다. 『쌍화점』의 ‘쌍화만두’는 고려사회에 정착한 외국인인 회회인(回回人) 상 인이 팔던 만두로 양고기와 밀착된 그들의 음식문화와 고려사회에서 도축업 에 종사한 사실 등을 토대로 ‘양고기만두’였을 가능성을 엿볼 수 있다. 위의 고찰로 미루어 볼 때 고려시대 한국 만두의 기원은 『쌍화점』의 ‘쌍 화’에서 시작되었다기보다는 아마도 북송과 맞물리는 시기에 불교사찰의 채 식만두문화와 왕실과 민간의 육식만두문화가 이미 존재하였을 것으로 생각 된다.

The present study addresses the tea utensils and tea drinking methods seen in tomb mural paintings of Song, Liao, Jin, and Yuan, which were Koryo’s foreign exchange countries. The paintings illustrate the pointing tea method, which was popular during dynasty times. Tea utensils observed in the paintings include a tea mill, mill stone, and tea pestle necessary for making cake tea into powder. The tea stove and boiling bottle are depicted as being required to boil water. Some mural works vividly depict how a tea drinker pours hot water from a boiling bottle into a cup with a stand, mixes it with a tea spoon, and whisks tea powder for foaming with a tea whisk. The tea drinking method of the Southern race Han is also similarly described in the tomb mural paintings of Liao, Jin, and Yuan from Northern nomads. The distribution of tea culture had an enormous influence on the development of tea utensil manufacturing methods. The significance of this study is that these findings can be used as basic data to provide food culture insights into Koryo celadon tea utensils.

This study is on the alcohol beverage utensils represented on the Chinese tomb mural paintings of Song, Liao, Jin, and Yuan those countries had foreign exchange with Koryo Dynasty. These mural paintings are distributed in the areas such as Hebei, Henan, Inner mongolia, Shanxi, Shaanxi, Peijing. etc. The Alcohol beverage vessels were classified mainly into storage vessel, pouring vessel, drinking vessel and ladles according to the purpose. The storage vessels of Song, Liao and Jin were called Jiuping, Jingping, Jiuzun as well as Meiping. Pouring vessels are basically one set of Zhuzi, Wenwan and Jiuzhu, or Zhuhu and Zhuwan. On the mural paintings of Yuan Dynasty, Meiping as storage vessels disappear, and a variety of shapes of pouring vessels such as Mayu and Yuhuchunping appear. This trend indirectly indicates the new arrival of distilled liquor, which seems to have affected transition of the alcohol beverage utensils.

Tean Mado Shipwreck No. 3 is presumed to have been shipwrecked between 1260 and 1268. It departed from a Southern costal area of Yeosu in Jeonnam Province to Ganghwa Island, its final destination at which the temporal regime of Koryo Dynasty was located. In the shipwreck, a total of 35 wooden tablets were found, and forwarding places, senders, receivers, descriptions, and quantities of freight were written on the wooden tablets. The names of receivers included Kim Jun, who was influential in the late Musin Era of the Koryo Dynasty, and key institutions such as Junmin and Sambyulcho of the Musin force. Twenty wooden tables had lists of food items such as barley, abalone, salted-fermented abalone, mussel, dried mussel, salted fermented mussel, dried shark meat, fish oil, pheasant, and dried dog meat. The food items in the late 13th century were systematically examined using scientifically determined food organic remains and records of wooden tablets among the marine relics of Mado Shipwreck No. 3.

This study examined the food culture of the Koryo Dynasty during the early 13th century based on the records of wooden tablets and marine relics from the 1st and 2nd ships of Mado wrecked at sea off Taean while sailing for Gaegyeong containing various types of grain paid as taxes and tributes. The recipients of the cargo on the 1st ship of Mado were bureaucrats living in Gaegyeong during the period of the military regime of the Koryo Dynasty, and the place of embarkation was the inlet around Haenam (Juksan Prefecture) and Naju (Hoijin Prefecture) in Jolla-do. On wooden tablets were recorded 37 items of rice, cereal, and fermented foods. The measures used in the records were seok [石-20 du (斗)] for cereal, seok [15 du, 20 du] for fermented soybean paste, and pot (缸) and volume (斗) for salted fish. The places of embarkation on the 2nd ship of Mado were Jeongeup (Gobu Prefecture), Gochang (Jangsa Prefecture, Musong Prefecture), etc. On wooden tablets were recorded 29 items of rice, cereal, fermented foods, seasame oil, and honey. The volume measure for yeast guk (麴), the fermentative organism for rice wine, was nang [囊-geun (斤)], and the measure for sesame oil and honey, which were materials of oil-and-honey pastries and confections, was joon (樽-seong, 盛). Honey and sesame oil were luxury foods for the upper-class people of the Koryo Dynasty, and they were carried in high-quality inlaid celadon vases in Meibyung style. Food names and measures written on wooden tablets and actual artifacts found in the 1st and 2nd ships of Mado are valuable materials for research into agriculture, cereal, and fermented foods of the Koryo Dynasty in the early 13th century. Besides, relics such as grains and bones of fish and animals from the Koryo Dynasty are expected to provide crucial information usable in studies on food history of the Korean Peninsula.

The building for the Sutra appeared as the Sutra-belief became popular in the early years of the Koryo Dynasty. According to the written documents, there were two types of apparatus to keep sutras, one by fixing the cabinet to the wall and the other by rotating the cabinet at the center of the hall. There are no remains. Recently, at the excavation of the site of the Yeongguk Temple (寧國寺) in the Chungcheong Prevince (영동군), a building which was presumed as the Sutra Hall was recovered at the side of the Main Hall. At the center of the building, of 6meters width and 6meters depth, there was a large stone which had a round trace which was presumed to supporting the rotating sutra-case cabinet. By examining the concerned situations, this building was concluded as the Sutra Hall of the temple. The Yeongguk Temple had a close relationship with the royal household. Budddhist monk Gwangji, son of the 16th King Yejong was lived at the Temple. the tomb of King's advisory priest Wongak was also erected at the Temple. Two monks were well known as the defender of the Sutra. The Sutra Hall of the Yeongguk Temple regarded as a significant example which showed us how the archtectural aspect of the Sutra Hall was shaped in the Koryo Dynasty. It could be said that revealing the architectural aspect of the Stura Hall will help revealing the Buddhist architecture of the Koryo Dynsty which is veiled in many field.

Rice alcoholic beverages, cheongju and beopju, which are recorded in "Koryodokyung", "Koryosageolyo", and "Koryosa", were used in national and royal ceremonies, and yakju was used in the Palgwanhoi ritual. In the late 11thcentury, King Munjong imported hwaju and haenginjabeopju from the royal family of the Song Dynasty. Alcoholic beverages in the early 12thcentury included the medical use for kings, such as gyehyangeoju, which the Emperor of the Song Dynasty sent to King Yejong, baekjainju, which was sent to King Myeongjong for his health, and yangju, which is goat milk fermented alcohol from the nomads in the northern regions. In the early13th century there was also dongrak, which is a horse-milk fermented alcohol, grape wine sent from Yuan to King Chungryeol in the late 13th century, and sangjonju, a type of special cheongju sent from Yuan in the early 14th century. Baekju from Yuan was recorded in oral traditions, which suggests that soju, which is distilled cheongju, was consumed in the late 14th century. Gold and silver wares for alcoholic beverages had important political, social, and economic meanings as national gifts to other countries and internally as the king's royal gift to his subjects. In the late 14th century, soju was prohibited, and the use of gold and silver wares for alcoholic beverages was banned at the same time. This study examined the historical characteristics of the use of traditional rice alcoholic beverages, the emotional preference for foreign alcoholic beverages, and the gold and silver wares used for alcoholic beverages Koryo Dynasty.

昧谷山城은 忠淸北道 報恩郡 懷仁面 富壽里 산 443번지 일원에 위치하고 있다. 이 산성은 三國時代에 견고하게 初築된 石築山城으로서 新羅末~高麗初 이 지역의 豪族인 龔直의 活動 根據地로서 지속적으로 經營되었다. 昧谷山城이 위치한 懷仁은 淸州平野의 남쪽을 가로막는 山麓의 매우 험준한 계곡 사이에 위치하고 있다. 하지만 이 지역은 중북부에서 嶺南 ․ 湖南地域을 있는 直路로서 地理的으로 삼국시대 이래 중요한 交通의 要衝地이자 軍事的 要衝地로써 後三國時期에 後百濟와 高麗 사이의 國境地帶로 인식되어 歷史地理的 위상이 크다. 昧谷山城은 單郭構\造으로서 각종 지리지의 기록에 따르면 둘레가 1,152尺이고, 높이가 8尺이다. 실측 조사한 길이는 내측의 둘레가 635m이고, 성벽의 높이는 외측의 무너진 부분이 6m 이상이다. 성벽 북쪽과 동쪽의 외향으로 돌출된 角雉 혹은 曲城의 흔적이 50~55m의 간격을 두고 모두 7개소가 배치되어 있음은 특징적이라고 할 수 있겠다. 昧谷山城은 三國時代 高句麗․百濟․新羅가 쟁탈전을 벌이던 무렵에 축조되었다. 성벽의 축조에 있어서 板石을 이용하여 수직에 가깝게 쌓아올린 점이나 基壇補築 등의 축조기법은 특징적이라고 할 수 있으며, 5세기 후반경에 新羅에 의해 축조되었을 가능성이 크다. 新羅末 高麗初에 昧谷山城은 城主將軍 龔直이 강력한 土着勢力을 바탕으로 根據地로 삼고 있었다. 매곡산성에서 출토되는 대표적인 줄무늬병편 등의 유물은 대략 10세기를 전후한 것으로서 주목된다. 羅末麗初의 昧谷山城은 삼국통일 이전의 성곽을 지속적으로 활용하면서 성곽의 立地는 주요 都市의 외곽 혹은 交通의 要衝地에 위치하고 있어 城郭戰術의 큰 변화가 없었던 것으로 여겨진다. 城主將軍 龔直은 昧谷山城을 根據地로하여 처음에 甄萱에 歸附하였고, 高麗 太祖 15년(932) 王建에 歸附하여 報恩 ‧ 淸州 ‧ 文義 등 중서부지역의 쟁패에 우위를 차지할 수 있는 결정적인 轉機를 마련해주었다.

고려시대는 정치적으로 실용적인 유교에 깊이 연대되어 있었지만 나라의 근간 과 관련된 문제에 있어서는 불교에 의지하였다. 이는 당대를 주도하고 대변하던 계층이 불교를 所依處로 삼았다는 것으로 볼 수 있기 때문에 이 시대 지식인의 사유와 행동에 불교가 끼친 영향이 적지 않았음을 짐작하게 된다. 고려후기에는 고려전기와 마찬가지로 불교가 크게 성행했고, 특히 무인난으로 인하여 많은 문인 지식인들이 현실을 떠나 山野로 도피하였으므로 자연스럽게 불교와의 인연을 가 지게 된 경우가 많았다. 또한 고려후기에 불교계를 주도하던 高僧․大德들 가운 데 鄕吏層․讀書人層출신들이 주류를 이루었기 때문에 이들과 교유하던 문인지 식인들이 불교에 대하여 더욱 관심을 가지게 되었다. 이들 고승들은 일찍부터 儒․佛에 관심을 가지고 精進하여 科試에도 합격할 정도로 文人的素養을 충분 히 갖추고 있었으므로 同時代의 문인들과 잦은 문학적 교류를 가졌다. 따라서 당 시의 문인들도 불안하고 경직된 시대를 만나 불교에 깊은 관심과 애정을 가졌고, 詩文에 능한 승려들을 통하여 불교의 높은 정신적 경개에 이르고자 하였다. 당시 의 문인지식인인 이들 사대부들은 유교를 공부하여 현실 정치에 참여했지만 危難 의 시대에 정신적으로 기댈 곳은 불교의 탈속적 세계 밖에 없었다. 이러한 문학적 교류는 승려들의 작품 형식으로 정착된 山人體를 서로 답습하게 되므로써 더욱 견고성을 가지게 되었다. 승려들과 문학적 교류를 통하여 불교사상을 문학적 이데 올로기로 삼은 사대부들이 많았지만 이들 가운데 대표적인 인물이 李奎報와 李穡 이다. 따라서 이 두 사람의 詩文에 나타난 불교 취향은 고려후기 문학 사상의 중 요한 부분이 되기 마련이었다. 이들의 불교관련 시문에서는 불교의 이상향인 淨土 를 추구하면서 탈속적인 세계를 지향하고 있는 것이 특징이라고 할 수 있다.

The present study examined the import routes of distilled rice liquor soju and how soju developed among the royal family and the upper classes using celadon inscribed with poetry related to alcohol beverages in the 12th century, Maebyeong style vases inscribed with government office name in charge of alcohol beverages of the royal family in the 14th century during the Koryo Dynasty. Distilled rice liquor was imported from the southwestern region to Koryo by Arabian merchants through direct and indirect routes in the Yuen Dynasty during the age of King Chungsuk and King Chunghye in around the 14th century. As soju was added to existing takju and cheongju, the three major types of alcohol beverages were completed during the late Koryo Dynasty. Celadon pitcher inscribed with poetry shows the delicate sentimentalism, aristocratic prosperity, and poetic sentiment. In particular, it is valuable in that it reflects Koryo people's mind, view of nature, and attitude toward alcohol beverages, and their inner world was also described with celadon patterns. Maebyeong style vases Yangonseo, Saonseo, Deokcheongo, Euiseonggo and Saseonseo, which are real celadon antiques inscribed with government office name, were used for rice liquor preservation. In particular, Maebyeong style vase 〈Euljimyeong Saonseo, 1345〉 has the exact year of creation, so it is a historically important celadon in research not only on alcohol food culture but also on art history. This shows that alcohol beverages were important foods that there were controlled and stored in celadon by the government offices for the royal family's related alcohol ceremonies. Through celadon inscribed with poetry and government office name displaying Koryo people's unique imagination and cultural consciousness, we can read their mind and lifestyle based on historical and social alcohol food culture in the Koryo Dynasty.

This paper aims at studying on the medium of cultural interchange regarding who did and how to introduced the new trend of architecture during the period of Koryo Dynasty. Before the era of Koryo Dynasty, Kyungjang(Sutra Pitaka, 經藏) was mainly centered in Kyeongnu with a substantial function of storage. In the early Koryo Dynasty, however, Daejangjeon(大藏殿), which was spatialized for worship, began to appear. Normally, fixed walls were installed and the Sutras were enshrined inside Daejangjeon, while Jeonryunjang (revolving wheel sutras), a type of rational bookshelf, was introduced, and a new trend became developed in Kyungjang construction. Jeonryunjang(revolving wheel sutras, 轉輪藏) is a dharma instrument with a rotational function so that one revolution gives an effect of reading the enshrined Sutra one time, and began to be created actively in the period of the Northern Song. It is considered that the introduction of Jeonryunjang(revolving wheel sutras) to Daejangjeon was resulted from Haejokuksa(慧照國師) Damjin(曇眞) who visited the Kangnam areas in the Northern Song at that time. The Kangjeol areas in the Northern Song, where Damjin concentratively itinerated three times, were the place in which Jeonryunjang was created in many temples. Since Damjin, historical materials and excavated data regarding constructing Jeonryunjang have been discovered in the Buddhist temples, which are related to his pupils and dharma lineage. The only existing Jeonryunjang of Yongmusa Temple in Korea is the one that Joeung Daesunsa, who succeeded to the dharma lineage of Haesokuksa, promoted, and supports strongly such introduction of Jeonryunjang by Haesokuksa

고려 전기 문학의 형성에는 신라문학의 영향이 至大했다. 특히 신라출신으로 당나라에 건너가 유학했던 지식인들이 신라말엽에 귀국하여 당시 문학 활동을 主導했기 때문에 고려 전기 문학은 이들에게서부터 그 端初가 열렸다고 볼 수 있다. 신라의 문학에서 크게 벗어나지 못했던 고려 전기의 한문학은 중국문학과의 交涉을 통하여 보다 진전된 양상을 보이기 시작했다. 고려 전기 문물을 정비하고 새로운 문학세계를 여는데 중국에서 投化한 사람들의 기여가 컸다. 雙冀나 王融에 의해 도입ㆍ정착된 科擧制度는 고려 전기의 한문학이 활발하게 전개되고 발전하는데 직접적인 영향을 미쳤다. 또한 고려의 외교 사절들이 중국을 왕래하면서 중국 文士들과 문학적 교류를 不斷하게 가짐으로써 고려 전기 문인들의 창작역량과 작품수준을 더욱 향상시켰다고 볼 수 있다. 중국의 문사들이 고려 사람들의 문학적 역량을 높이 평가하여 간행했던 小華集에서 고려 문인의 작품수준이 심상하지 않았음을 짐작케 한다. 더욱이 고려의 詩文風이 발전적으로 변화된 것은 東坡의 詩文風 도입에 있다고 하겠다. 지나치게 형식적이고 수사에 치우쳤던 場屋風의 詩文風을 反省하고 문학의 본질문제에 대해서 고민하게 한 것이 바로 동파의 詩文風이었기 때문이다.

Korea is closed to China in the geographical position and is related to China as two countries have developed similar culture, art, and social systems. Architecture is a kind of culture and has advanced in the wooden architecture with a considerable change. The study investigated a phylogenetic relationship between two countries based on characteristics of architectural universality. With comparison and analysis on the common feature and difference of the beam and structure in the wooden architecture from the Koryo and Zhejiang Province(China), the systemicity of the wooden architecture was examined. The beam is a part of timber which is consist of the wooden structure frame and also a crucial subject to understand a development process of the wooden architecture.

The central aim of this thesis is to see if the structure of Palsangjeon(捌相殿) in Pubjoo Temple(法住寺), a five sto wooden pagoda in Chosen(朝鮮) Dynasty, was handed down from the ancient and middle ages. This study was performed through an analysis of Gilt-Bronze Pagoda built in Koryo(高麗) period. In other words, it is aimed at analyzing which lineage the structure of Palsangjeonbelongs to as a wooden pagoda. In analyzing the structure of Palsangjeon, I attempted to find out its source from the remains of Koryo period prior to the Chosen Dynasty. Examples are the Gilt-Bronze Pagoda, built during the Koryo period. I have also examined its relationship with other existing wooden pagodas and remains. The analysis of Palsangjeon, a five story wooden pagoda in Chosen Dynasty, focuses on the following: First, I explored the possibilities of whether the structure of Palsangjeon was newly invented in Chosen Dynasty, or if it had been derived from the wooden pagodas in the Koryo period. Secondly, I tried to find out if the stable vertical planes, with a great successive diminution ratio, were derived from the middle age, i.e. Koryo period. The results of the study of Palsangjeon through Gilt-Bronze Pagoda analysis are as follows: 1. The structure of Gilt-Bronze Pagoda, a wooden pagoda from the Koryo period, is roughly classified into the accumulation type, using pipe pillars, and the one story type using whole pillars. In the accumulation type, stories are connected in either a flat format or an intervening format. The Gilt-Bronze Pagoda is mainly composed of pipe pillars, with some whole pillars. However, the central pillar was omitted in the building structure. Generally, the upper and lower stories are connected by pipe pillars in a crutch format. All the pillars, whether they are pipe pillars or whole pillars, used Naiten(內轉) technology. The Eave supporter has the Haang type(下昻) and the Muhaang type(無下昻). In most cases, high balustrades are furnished, but few tables of high balustrades have been found. The slanting roof formats have been handed down from Paekche(百濟), Silla(新羅), or Koryo(高麗). However, the structure of the octagon is assumed to be derived from Koguryo(高句麗). The structure of the Gilt-Bronze Pagoda from the Koryo period is mainly composed of accumulated flat squares, with some spire types. intervening format, the structure of Palsangjeon used whole pillars in a half story format in which upper level side pillars are installed on the lower level tie beam. From the Bronze Pagoda from the Koryo period, we can assume that the half story format of wooden pagodas that has stable vertical planes with a great successive diminution ratio was created during the mid-Koryo period at the latest and had been idly developed by the time of the Chosen Dynasty. 3. The whole pillars in Palsangjeon are also found in Gilt-Bronze Pagodas from the Koryo period. Hence, all of the pillars in Palsangjeon seem to have been handed down from the ancient construction technology. They were also used in the construction of wooden pagodas from the Koryo period. Therefore, it is assumed that Palsangjeon was constructed using the construction technology of the Chosen Dynasty that had been developed from the wooden pagoda construction technology of the Koryo period. The stable vertical planes with a great successive diminution ratio in Palsangjeon are derived from ancient Korean wooden pagodas, which have developed into indigenous Korean wooden pagodas with fairly stable vertical planes and a great design, in the half story format of Koryo and Chosen Dynasty. Therefore, it is assumed that the structure of Palsangjeon has a systematic relationship with traditional Korean wooden pagodas and is one of the indigenous Korean wooden pagoda structures. 4. In China, the intervening format has been mainly used between stories in multi-story architecture since the ancient days. At the same time, the flat format as also used in ancient and middle ages. However, the flat format was replaced by whole pillars during the Ming(明) and Manchu(淸) Dynasties, in favor of simple and compact construction. The half-story format, in which upper level side pillars are installed on tie beams, has been found in some cases, but it doesn't seem to have been the primary construction technology. Few traces of the half-story format have been found in multi-story architecture in Japan, and it has not been used as a general construction format. By contrast, the half-story format, which seems to have been derived from the Koryo period, was used as a general construction format in multi-story architecture of the Chosen Dynasty. The construction technology of multi-story architecture is related to that of multi-story wooden pagodas, but they have different production technologies. It seems that the structure of Palsangjeon did not just adopt the construction technology of multi-story architecture in the Chosen Dynasty, but it was developed from wooden pagodas in the Koryo period, including the Gilt-Bronze Pagoda. 5. Since the ancient days, most Chinese and Japanese wooden pagodas have adopted an accumulation type of structure using pipe pillars, with accumulated pointed towers. On the other hand, though most Korean wooden pagodas have also adopted an accumulation type of structure from the ancientdays, one story type using whole pillars was created in the Koryo and Chosen Dynasties. The wooden pagoda structure of Palsangjeon, with stable vertical planes in a half story format, is a unique Korean construction technology, different from the construction technologies of Chinese and Japanese wooden pagodas. This thesis clearly determined the structural characteristics of Palsangjeon. However, various remains have yet to be analyzed in depth, to establish an accurate construction technology system. In the beginning of this thesis, I had difficulty in precisely interpreting the internal structure of the Gilt-Bronze Pagoda from its appearance. However, in the process of study, the more serious problem was that there are few remains or ruins of multi-story architecture in ancient and the middle ages of Korea. Therefore, it is urgent to discover various remains in the future. This thesis succeeded in determining the structural characteristics of Palsangjeon. However, it fell short of clarifying the structural lineage of the stable vertical planes, although they show indigenous Korean architectural taste, representing the unique national emotion, and the construction format of multi-story wooden pagodas in Korea. I hope this is clarified in the future research.

Khori(高麗) refers to the Chaabog(reindeer) that live on lichens(蘚) on Mt. Soyon(鮮) in which pastures are the cold and dry plateau of North Eurasia. Thus, the origin region of the Khori or Koguryo that are the ancestors of the reindeer-herding pastoral noma

The Korean tea culture appeared in a variety of ceremonies of the royal household. It was a method of religion for scholars and Buddhist monks, and sometimes it also was a refinement, too. in addition, it played an important role as a household medicine for the common people. As mentioned above, the Korean tea culture has a deep-rooted effect on the Korean traditional culture from the spiritual aspect, art, learning, to the practical life. Recently the tea culture has been rapidly coming into vogue. So the tea culture has been recognised not only to be an index of the cultural level, but also to be an important cultural phenomenon. Besides, It came to be a major role as a reception method by which we can communicate with quests from ail over the world. Because preferred tea was different according to the times and to the regions, tea utensils have been changed along with the tea culture. The present Korean tea culture has a tendency to go to the somewhat different way from the traditional one. This study has the purpose to let us apprehend the Korean traditional culture and hold the national pride. In addition, the value of the Tea should be assessed more properly, and our own Tea that is unique, simple, and natural, should be settled in the our culture.

本稿는 고려중기 대표적 작가들의 산수시를 연구 분석하는 과정을 통하여 개별작가들의 작품에 드러난 자연의식과 미의식을 추출하고 이 시기 山水詩의 槪括的인 성격을 구명하는 것에 목적을 둔다. 무신집권기(1170-1270년)로 명명되는 고려 중기는 문인들의 수난기였다. 생존 문민들은 정치적·사회적 대변혁의 결과로 인해 생성된 시대적 억압감과 좌절감을 共有하며 일시적 혹은 장기적으로 권력으로부터 소외되는 상황에 봉착하게 되었다. 이로 인해 그들은 자연스럽게 산수와 친밀해졌고 그 결과 자연을 미적 대상으로 인식하고 그 미적 요소를 추출하여 작품 속에 용해시킬 수 있었다. 본고는 이 시기에 공존했던 李奎報 ·金克己 ·率仁老 진화등 4人의 작가를 중심으로 그들이 산수를 대상으로 창작했던 작품들을 연구범위로 삼았다. 자연시는 심미의 주체인 인간과 심미의 객체인 자연 경물 간의 결합으로, 심미의 객체인 자연 경물이 주된 위치에 놓여지는 것이 山水詩이다. 객관적인 景物의 묘사 속에 작자의 情懷가 자연스렵게 녹아들어 情景이 자연스럽게 조화를 이루는 情景交融의 경지가 산수시가 성취해야 할 도달점이다. 고려 중기의 산수시에는 이러한 도달점에 접근한 작품들이 발견된다. 산수의 흥취에 몰입하여 自適을 체험을 노래한 시와 閑寂과 安穩은의 情調를 바탕으로 산수의 세밀한 부분을 관찰하여 山水美의 본질을 포착했던 시들이 그것이다. 또 일시적이나마 자신이 속한 현실세계에서 느낀 비애감과 좌절감에서 탈피하기 위해 山寺나 仙界를 찾아 吟詠하는 일이 많았다. 그러나 단순히 불가의 法理나 사찰 자체, 신선을 동경하는 것에 음영의 목적이 있는 것이 아니라 자연과 조화를 이룬 山寺와 신선의 경계가 내포하고 있는 탈속적 분위기 속에 지친 자아를 慰撫하려는데 목적이 있었다. 이 시기 작자들의 산수시에서 山寺와 선계의 空間을 찾아 탈속을 희구했던 시들이 많이 발견되는 이유는 그들의 현실적 처지와 긴밀히 연계되어 있다고 하겠다.