중국에 어산 범패가 있듯이 한국에는 향풍범패가 있다. 한국 승려들에 의한 經文纂鈔, 축원 및 기타 여러 게송과 사설들이 향토적 선율과 리듬절주로 민중 속에 향유되어 왔는데도 그간 향풍범패의 존재에 대해 간과해 왔다. 원효대사가 부른 무애가와 민중들의 나무아미타불 후렴구와 장엄염불, 의상대사의 법성게, 월명사의 향가와 연결되는 향풍범패는 일상의 신행과 염불 및 시다림에서 없어서는 안 될 중요한 율조이다. 무박절에 모음을 길게 늘여 짓는 당풍범패는 전문직승에 의한 장인굴곡의 율조인데 비하여 향풍 범패는 일자일음에 한국적 리듬절주를 지니고 있다. 따라서 향풍범패는 누구나 함께 할 수 있어 민중의 신행에 깊이 스며들고 사찰 및 불교음반 시장에서 유통되고 있는 음반의 대부분을 차지한다. 오늘날 전승되고 있는 향풍범패의 면모를 보면, 시중에 유통되고 있는 천수경, 장엄염불, 법성게를 비롯한 다양한 경문찬초는 조선의 억불을 맞아 걸립패나 탁발승의 노래로 불리다가 巫歌 내지는 상여소리가 되기도 하고, 소리꾼들의 노래로 인기를 누리기도 하였지만 사찰 신행에 그대로 남아 일반 신도들의 신행 속에 살아있는 것이 많다. 향풍범패는 창자의 성향에 따라 자유로이 선율을 지으므로 음악적 변화의 폭이 크지만 이러한 가운데도 일관된 맥락과 율조유형이 있다. 법성게는 2소박 패턴, 장엄염불은 2소박․3소박․빠른 2소박의 3부분 형식, 천수경과 육자염불은 긴․자진 틀이 있고, 빠른 율조는 2소박, 느린 율조는 3소박의 공통성을 지니고 있다. 이러한 향풍 범패는 궁중음악을 비롯하여 한국전통음악의 역사와 궤를 같이 해 왔으므로 앞으로 불교음악과 한국전통음악의 관계 규명에도 기여하는 바가 클 것이다.

We have a Korean style Hyanpung Beompae just as the Chinese have a Aeosan Beompae. The lyrics for the Hwahgpung Beompae were written by a Korean venerable, whilst the melody is syllabic and the rhythm is traditionally Korean. Meanwhile we have also taken an interest in the Aeosan Beompae, which we call Dangpung. It’s meaning derives influence from the Chinese Tang dynasty. The tradition of Buddhist ritual undertaking was interrupted during the Josun dynasty and the era of Japanese colonial dictatorship. But following this, by 1960, a re-interest had taken root. The unique and unusual vocalic melisma melody of the Aeosan Beompae as sung by professional musician monks caught people’s interest. At this time the number of academic studies has accumulated, we should know that three lineages have been established. Beompung originates from India, and was written in Sanskrit; Dangpung hails from China; whilst the third lineage is the Korean native style Hyangpung. These days, some Hyanpung Beompae are still chanted during the temple rituals or in daily life, whilst others are sung as folk or shaman songs. They were openly used during funeral ceremonies, because the Josun Dynasty’s Confucianist public policy did not sufficiently attend to the people’s yearning for a connection with the afterlife. So instead they turned to Amita Buddhism and the Jeongto Yembul. During That time some Buddhist priests returned to secular life, becoming Geollibpae, a kind of wandering musician group. Beollibpae managed their livelihoods through the performance of Buddhist ritual songs, accompanied by the beating of temple percussion instruments. Among the temple songs, some became folk songs whilst others became professional songs. Certain Sangyeo sori were used during a funeral ceremony march or during shaman rituals. So much traditional vocal music has thus originated from the Buddhist chant, the Hyangpung Beompae. At the result, we are able to still hear the same lyrics from the introduction of the Bolyeom, a famous folk song in Jeolla province used during prayer chanting in Buddhist rituals. Additionally, the Yeombul and Sanyeombul, which are common folk songs in Gyeonggi province and the Gaesung capital territory of the Goryo dynasty, are very similar to the Jeongto yeombul in the Buddhist temples. The Hangpung Beompae is easy and popular, so Hyangpung Beompae CDs are commonly found in markets, whilst the Dangpung gets attention mostly from professionals. This is a very worthy research field, since the Hyangpung Beompae has a deep relationship with most Korean traditional musics: folk, court, and religious.

Hyangpung Beompae, Korean style Buddhist chant, Buddhist ritual song, Buddhist ritual music, Korean Buddhist chants.