1907년 H. P. Sastri에 의해 네팔에서 발견된 carya는 樂歌舞가 혼합된 종합예술로서 불교음악의 대발견이었다. carya는 팔라왕조의 7∼8세기에서 12세기까지 벤갈지역을 중심으로 유행한, 밀교의식의 요체이며, 종교적 일상의 주요 日課로서 수행된 신비적이고 상징적인 노래로 정의 된다. 언어는 고대 벤갈어를 중심으로 동인도 인근지역 언어가 복합적으로 사용되었다. 대표적 작곡가들은 84명의 siddhacarya였으며 Saraha가 그들의 선구자였다. 그들은 포교의 일환과 밀교적 수행의 방편으로 전통적 관습에서 벗어나 현실과 대중 속에서 종교적 열반, 캐스트와 직업, 신념과 사상 등을 아우르며 인도 불교의 종교적 모티브를 제공하는 혁명적 사회운동이었다. 그러나 carya에는 의례 절차에 따른 음악의 용례나 연주절차 등에 관한 자세한 기록이 없어 네팔의 caca를 통해 carya를 확인한다.
Most of religious music is closely related with religious ceremonies. Buddhist music is also mostly based on the contents of Buddhist ceremonies. The first half of this study focuses on the definitions of Buddhist ceremonies and the related characteristics, while identifying the origin of Buddhist music in India. Also, together with the historical background of the Pala Dynasty which gave birth to Buddhist music in India, the establishment process of sahajayana of Tantric Buddhism through which real Buddhist music was born. The second half of this study focuses on carya, which is the origin of Tantric Buddhism in India. According to the related documents, it is found that music was actively used in various ceremonies at the time when Tantric Buddhism emerged. However, currently there seems to be no religious music existing in India. It is not easy to focus on religious music which has no traces just by looking at the related documents. However, from the time when carya, which can be regarded as the origin of real Buddhist music, was found in Nepal by H. P. Sastri in 1907 for the first time, people have shown their interest and attention in regard to Buddhist music. Such a finding cannot just be regarded in terms of sangiti for the memorization of scriptures. It is considered to be more than just music. It is a combination of music, songs and dances rather than being just music. It is a great discovery of Buddhist music. Carya became quite popular in the Bengal province between the 7th to 8th century and the 12th century, during which the Pala Dynasty was at its zenith. In Nepal, some parts of caca, which maintains the traditional features of carya, become open to the public based on the different characteristics of the ceremonies in today`s age of information popularization. However, the procedures and contents for the core part of the music have never been open to the public together with the secret ceremonies. Such procedures and contents have been considered to be secrets. It is possible to know that such things have been inherited only by vajrayana or sahajayana, who practice Tantric Buddhism. Carya is the key factor of the ceremonies for Tantric Buddhism. Such a factor consists of mysterious and symbolic songs which are sung as main parts of people`s daily religious life, and can be defined as a way of wisdom towards nirvana. In terms of genres, it can be regarded as a kind of Buddhist music used for various religious ceremonies with music, songs and dances. Also, after analyzing the inscriptions of carya and the languages used in India, it is concluded that the terms used for carya are mostly based on the ancient Bengal language together with a combination of the languages used in nearby provinces. The representative composers of such songs were the monks of Tantric Buddhism from the 8th century. There were 84 monks called siddhacarya. Saraha was a pathfinder for them. As a part of propagation and fulfillment, they sang their philosophical beliefs and religious explanations of Buddhism together with their execution of Tantric Buddhism. It can be said that such songs were loved by people from every class since they combined such things as nirvana, moksha, cast, beliefs and ideologies in people`s real life outside the traditional customs. Also, they were regarded as a kind of revolutionary social campaign which would provide a religious motive for Buddhism in India. Finally, since there is no specific record regarding the cases of music based on different ceremonies, perfo
目次
들어가는 말 156 I. 불교의례와 俱生乘 157 II. 金剛乘의 二行時歌 cārya 163 나가는 말 175
