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The Dharma lineage of Uisang and Kyunyeoand Poetic Roles of Beopseongge

  • Journal of Korean Literature
  • 2018, (38), pp.29-52
  • DOI : 10.52723/JKL.38.029
  • Publisher : The Society Of Korean Literature
  • Research Area : Humanities > Korean Language and Literature
  • Received : September 30, 2018
  • Accepted : November 10, 2018
  • Published : November 30, 2018

Seo, Cheolwon 1

1서울대학교

Accredited

ABSTRACT

In this article, I will examine the relationship between Uisang (義相, 625~702) and Kyunyeo(均如, 923~973) through their ideas and literature. Directly referred to as “Beopseongge” (法性偈, The Song of Dharma Nature), also known as “Hwaeomilseung Beopgyedo” (華嚴一乘法界圖, Dharma-realm of the One-vehicle of the Huanyan), Gatha of Uisang and “Bohyeon Sipwonga” (普賢十願歌, Songs of the ten vows or aspirations of Bodhisattva Samantabhadra) of Kyunyeo. This is to restore the tradition of religious poetry that was the beginning and the end of Silla Hyangga, the 7th and 10th centuries. Beopseongge is aiming relativism throughout his works. Through the endless chain of interpenetration of things, Uisang sought to transcend all distinctions such as one and the whole, space and time, Buddha and regeneration, enlightenment and foolishness. This was an important factor for Kyunyeo in Bohyeon Sipwonga. And he went one step further to include whitespace not covered by Uisang. Uisang and Kyunyeo compressed “Hwaeomgyeong”(華嚴經, Avatamsaka Sutra) for almost the same purpose of making relativism widely known, and re-created it. This allowed Hwaeomgyeong to be made known to more readers and her literary works to be legacy.

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