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『사리영응기』는 1448(세종 30)년에 있었던 내불당(內佛堂) 낙성과 불상의 점안(點眼)을 위한 불교의식 경찬회(慶讚會)에 관한 기록이다. 왕실 불사에 수반된 주악 내용이 기술되어 있다. 『사리영응기』 에는 불교의식절차를 기술한 「삼불예참문」이 실려있지만 이에 대한 연구가 없었다. 이에 본고에서는 「삼불예참문」의 구성과 내용을 살펴 불교의식으로서의 성격을 규명하고 세종 30년 내불당 경찬회가 예겸참회의 법회로 설행되었음을 밝혔다. 아울러 『사리영응기』에수록된 세종 친제 불교음악의 제작 동기와 목적, 경찬회 진행에서의 용악 및 양식을 조명하였다. 세종의 친제불교음악의 제작 동기는 일차적으로 경찬회를 위해 내불당에 새로이 조성한 삼불과 보살, 나한 등 제불의 공덕을 빠짐없이 찬탄하고, 이를 통해 열성조의 극락왕생과 해탈을 기원할 목적으로 제작되었다. 아울러 왕실 조상을 추모하는 문소전의 유교식 제례음악과 짝을 이루는 내불당의 왕실불교의례 음악의 필요에 의해 제작된 것으로 해석된다. 이 음악은 궁중악무양식으로 제작되어 세종 30년 경찬회의 불상 이운의 과정과 불상을 위한 공양 음악으로 상연되었고 「삼불예참문」에 의한 법회 절차에서 전통적인 불교의례 음악과 병용되었다. 이처럼 『사리영응기』에 기술된 두 종류의 불교음악은 예경참회의 의식과 불사를 통한 왕실 조상의 추모의미를 상보적으로 구현하였으며, 내불당이 폐지될 때까지 왕실불교의례의 양식으로 지속되었을 것으로 추정된다.


“Sariyeongeunggi, a record on mysterious crystals found in cremated remains of the monk, describes Gyeongchanhoe Buddhist ritual held in 1448 (the thirtieth year of King Sejong's reign). It was held to memorize the completion of royal Buddhist shrine called Naebuldang and to set the three statues. The book contains descriptions on the music accompanying royal Buddhist service, and the process of royal Buddhist service is written in the writing called "Sambulyechammun." However, no research had been focused on the music and rituals described in Sambulyechammun. This research figured out the role and features of royal Buddhist service by examining the statements in Sambulyechammun, and therefore Gyeongchanhoe ritual was performed for sincere worship and repentance for Buddha. This research also examined the Buddhist music listed in Sariyeongeunggi, that is, the music composed by King Sejong for the Buddhist service. The background of creation, format, and its use in Gyeongchanhoe ritual were highlighted in the discussion. First of all, King Sejong composed the music to praise the virtue of Buddhist saints and monks called "Sambul", "Nahan", "Bosal," who were also statued and placed in Naebuldang shrine. The music also aims to pray for the Nirvana and to wish an easy passage into eternity for the kings in successive reigns. During the King Sejong's reign, Munsojeon shrine was built to commemorate royal ancestors, and Confucian ritual was performed in the shrine accompanied by music. It seems that the Buddhist service performed in Naebuldang also needed certain music for the ritual. In other words, the Buddhist ritual, just like the Confucian one, had its own music and procedures in the royal palace. Naebuldang is equivalent to Munsojeon; Buddhist music for the service is equivalent to the Confucian music and the ritual. The royal Buddhist service, however, would probably had to be differentiated from ordinary Buddhist ritual. In this regard King Sejong's Buddhist music was composed following the styles of court music and dance, and finally performed in Gyeongchanhoe ritual, not only as practice but also as an offering. Also, this newly composed music was used jointly with traditional Buddhist music. Two different Buddhist music described in Sariyeongeunggi had significance that they, complementing each other, were played for both sincere worship toward Buddha and the memorial rites of royal ancestors. It can also be inferred that the music had continuously accompanied the royal Buddhist services until Naebuldang was closed.