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The song form used in the Korean Buddhist ceremony, both by itself and for the accompaniment of the dances, is known as Beompea(Sanscrit: brah,a-bhan; Chinese: fanbei; Japanese: p?mbai). The Beompea of Hinayana and Mahayana are sung differently. These songs, sung in praise of Buddha, serve to calm the mind within by repressing the world without. They origib = nated in India the birthplace of Buddhism, were brouht into China, where they are said to have subsequently been developed during the 3rd century A.D., and were later transmitted to Korea and Japan. Although Buddhism is believed to have entered Korea is about 371 A.D., various sources list the emergence of Beompea in Korea to be as late as 645 (other sources state that it was briught into Korea during the Shilla period from Tang Dynasty China by Zen Master Jin-gam, who lived from 774~850). By the early part of the 9th century, however, the musical style of these songs had been altered to adopt them to the Korean idiom, and the dances are believed to have undergone a similar alteration from their Indian prototype some 650 years ago during the latter part of the Koryo period.
According to his memorial inscrtiption, the Shilla Zen master Jin-gam (眞鑒禪師大空塔碑文) Tang in 804 as an official emissary and on his return in 830 instructed numerous pupils in chant(eosan 魚山 = Beompea). Samgukyusa(三國遺事), however provides evidence that this was not the first intriduction of chant into Korea. Furthermore, the Japanese monk Wonin(圓仁), a contemporary of Jin-gam, records in his diary of a journey to Tang(入唐求法巡禮行記) that he witnessed a ceremony held in a temple inhabited by natives of Shilla located on the Shantung peninsular(山東半島), at which three style of chant were performed-Tang, Japanese, and Shilla. It may therefore be assumed that it was the Tang style which Jin-gam learned and brought back to Korea.
There are some study of the Beompea and Jin-gam in Shilla dynasty; Lee hye-gu, 'The Beompea of Shilla' Hankukeumakyeongu(韓國音樂硏究), 1957, Lee hye-gu, 'The history of Korean Beompea' Hankukeumakseoseol(韓國音樂序說), 1967, pp.337~356, Hahn Man-young, 'The Survey of Korena Buddhist Music' Bulgyoeumakyeongu(佛敎音樂硏究), 1981, pp.13~18, Song Pang-song, Hankukeumaktongsa(The History of Korean Music), 1984, pp.126~133, Kwon Oh-seong, 'Hankuk Beompe-auiyeoksa (The History of Korean Beompea)' Tongyang-bulgyoseongak-gyamunwha. 1999, pp.13~45, Kwon Oh-seong, 'Jin-gamseonsawa Shilla Beompea'(The Zen Master Jin-gam and the Beompea of Shilla)Jin-gamseonsauiyeoksajeokjejomyeong(The Historical Survey of the Zen Master Jin-gam), 2000, pp.81~87, Pak Peom-hun, Bulgyoeumakuijeolewa hankukjeokjeongaeegwanhanyeogu(The Study of Korean Buddhist Music). 1999, Pak Peom-hun, 'Jin-gamseonsa Beompeauieumakjeokteukjingegwan-hanyeongu(The Musicological Study on the Beompea of the Zen Master Jin-gam)' 2000, But these thesis or essays illustrated the Zen Master Jin-garn, and the Beompea of Shilla nearly the same. The first scholar who have studied about this topic, is Dr. Lee Hye-gu. The Study about this of other Scholar are similar to his study. Now, for the progressive study about this topic, we must study on the Beompea of India, China and Tibet.
According to his memorial inscrtiption, the Shilla Zen master Jin-gam (眞鑒禪師大空塔碑文) Tang in 804 as an official emissary and on his return in 830 instructed numerous pupils in chant(eosan 魚山 = Beompea). Samgukyusa(三國遺事), however provides evidence that this was not the first intriduction of chant into Korea. Furthermore, the Japanese monk Wonin(圓仁), a contemporary of Jin-gam, records in his diary of a journey to Tang(入唐求法巡禮行記) that he witnessed a ceremony held in a temple inhabited by natives of Shilla located on the Shantung peninsular(山東半島), at which three style of chant were performed-Tang, Japanese, and Shilla. It may therefore be assumed that it was the Tang style which Jin-gam learned and brought back to Korea.
There are some study of the Beompea and Jin-gam in Shilla dynasty; Lee hye-gu, 'The Beompea of Shilla' Hankukeumakyeongu(韓國音樂硏究), 1957, Lee hye-gu, 'The history of Korean Beompea' Hankukeumakseoseol(韓國音樂序說), 1967, pp.337~356, Hahn Man-young, 'The Survey of Korena Buddhist Music' Bulgyoeumakyeongu(佛敎音樂硏究), 1981, pp.13~18, Song Pang-song, Hankukeumaktongsa(The History of Korean Music), 1984, pp.126~133, Kwon Oh-seong, 'Hankuk Beompe-auiyeoksa (The History of Korean Beompea)' Tongyang-bulgyoseongak-gyamunwha. 1999, pp.13~45, Kwon Oh-seong, 'Jin-gamseonsawa Shilla Beompea'(The Zen Master Jin-gam and the Beompea of Shilla)Jin-gamseonsauiyeoksajeokjejomyeong(The Historical Survey of the Zen Master Jin-gam), 2000, pp.81~87, Pak Peom-hun, Bulgyoeumakuijeolewa hankukjeokjeongaeegwanhanyeogu(The Study of Korean Buddhist Music). 1999, Pak Peom-hun, 'Jin-gamseonsa Beompeauieumakjeokteukjingegwan-hanyeongu(The Musicological Study on the Beompea of the Zen Master Jin-gam)' 2000, But these thesis or essays illustrated the Zen Master Jin-garn, and the Beompea of Shilla nearly the same. The first scholar who have studied about this topic, is Dr. Lee Hye-gu. The Study about this of other Scholar are similar to his study. Now, for the progressive study about this topic, we must study on the Beompea of India, China and Tibet.
목차
1. 머리말 ; 眞鑑禪師의 一生
2. 眞鑑禪師와 韓國 新羅 梵唄 관련 史料
3. 眞鑑禪師와 新羅 梵唄 관련 旣存 硏究
4. 맺는말 ; 眞鑑禪師와 新羅의 梵唄에 대한 旣存 硏究 批判
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