‘선문화・선예술’ 구축에 있어서 스즈키 다이세쓰[鈴木大拙] 전사(前史) ー무로마치 문화에 대한 근대일본의 이해(일본사 관련 문헌을 중심으로)ー (A Study on the History before Suzuki Daisetsu in the Establishment of “Zen Culture and Zen Art” ―A modern understanding of the culture of the Muromachi Period―)

서지정보

· 발행기관 : 단국대학교 동아시아인문융복합연구소
· 수록지 정보 : 日本學硏究 / 42권 / 49 ~ 68페이지
· 저자명 : 허은주

초록

一見、自明にみえる禅文化･禅芸術の概念は、近代日本がおかれた社会的状況のなかで考案された近代の産物である。ここで構築された禅文化･禅芸術は東洋の伝統的遺産としての普遍的概念というよりは近代日本仏教のナショナリズムの磁場のなかで文化ナショナリズムとして展開されてきた。これらの概念が構築されていく過程を明確にするべく、本稿では鈴木大拙などによって禅文化･禅芸術の概念が構築される以前には室町文化に対していかなる理解がなされたという鈴木大拙前史について日本史関連の文献を資料として考察した。1910年代以前の文献では室町文化を禅の宗教性と結び付ける見方はきわめて稀であり、①義政の贅沢とそれによる様々な美術工芸の発達、②義政などの足利将軍と武士の禅宗後援による禅宗の隆盛とその文化的影響、と要約される。1910年代、笹川臨風によって東山文化が近代文化の源流として注目されて影響を及ぼすようになった。臨風は茶道、墨画などを禅と関わらせながら語ったが、これらを悟りの表れとは言ってない。が、臨風の作業はその後構築される禅文化･禅芸術の概念形成において文献的土台を提供することとなった。一方、ほぼ同時期、津田左右吉は室町文化に対する禅の影響をただ中国趣味とみなしながら、その本質は古来の古典趣味であると把握した。臨風は文化の外面に重きをおいて東山文化を前時代とは異なる新文化と捉えたが、津田の場合は異なる外形を貫く本質を古典趣味におくことで前時代との連続性のなかで室町文化を理解した。結論的に、1920年代までの日本史関連の文献においては室町文化を禅の悟りの表れとして理解してないが、室町文化に対する関心は次第に強まっていった。

영어초록

The seemingly self-evident concept of Zen culture and art is a modern product devised in the social situations faced by modern Japan. The Zen culture and art have developed as cultural nationalism in the magnetic field of modern Japanese Buddhist nationalism rather than a universal concept as the traditional Oriental heritage.
In an effort to clearly trace the process of the Zen art theory being established, this study examined the history before Daisetsu in the literature about the Japanese history to figure out how the Muromachi culture was understood before Suzuki and others established the concept of Zen culture and art.
There is extreme rarity in the understanding of Muromachi culture in relation with the religiosity of Zen in the literature before 1910. Muromachi culture is summarized as ① the extravagance of Yoshimasa and resulting development of various arts and crafts and ② the prosperity of Zen Buddhism by the support of shoguns and warriors including Yoshimasa and its influences on various types of culture.
In the 1910s, Higashiyama culture attracted huge attention as the origin of modern culture thanks to the evaluation of Sasakawa Rinpu, thus exerting influences. Rinpu mentioned the tea ceremony and ink-and-wash paintings in relation to Zen and did not understand them as the expressions of realization, but his works offered a literature base for the concept of Zen culture and art later. During the similar period, Tsuda Sokichi regarded Zen's influence on Muromachi culture as the Chinese interest and argued that its essence lied in the classical interest of old times. While Rinpu placed some importance on the expressive patterns of culture and considered Higashiyama culture as a new culture distinguished from the previous times, Tsuda found the essence penetrating different appearances in the classical interest and understood Muromachi culture in the continuity with the previous times.
In short, the interest in Muromachi culture was established as a general trend even though the literature about the Japanese history until the 1920s did not understand the culture as the expression of Zen realization.

참고자료

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