Yeongsanhoesang was originally a vocal piece originating from a grand Buddhist ceremony, but through the long Joseon Dynasty, it transformed into an instrumental suite (pungnyu music) for the inner cultivation of scholars. Although it started with Buddhist origins, it ultimately embodies the Confucian aesthetic of restraint and philosophy, standing as the essence and core of Korean traditional court music (Jeongak).
The name of this piece originates from 'Yeongsanhoe', a sacred gathering where Siddhartha Gautama preached the Lotus Sutra to his disciples on Vulture Peak (Yeongchwisan) in ancient India. Initially, it was a Buddhist vocal piece featuring a long, drawn-out chant of a seven-character Chinese phrase, 'Yeongsanhoesangbulbosal' (Buddha and Bodhisattvas of the Vulture Peak Assembly). As this religious song praising the merits of the Buddha and Bodhisattvas spread to the public and intellectual classes, the lyrics were dropped, completely transforming it into an instrumental piece.
This history of instrumentalization and expansion took place throughout the Joseon Dynasty. In ancient texts compiled during the reign of King Seongjong in the late 15th century, it was recorded as a vocal piece with lyrics. However, after the 17th century, as scholars favored it as pungnyu music played indoors, the singing gradually disappeared. Based on the original piece, 'Sangnyeongsan', variations such as Jungnyeongsan, Seryeongsan, and Garakdeori were derived. Subsequently, heterogeneous pieces like Samhyeondodeuri, Hahyeondodeuri, Yeombuldodeuri, Taryeong, and Gunak were sequentially combined, achieving its historical completion as a massive instrumental suite of 8 to 9 pieces as it is known today.
The most significant musical characteristic of Yeongsanhoesang is the structuring of the traditional aesthetic called 'Manmanjungsak'. This is a form that starts at an extremely slow tempo and gradually increases speed as the pieces progress. The first piece, Sangnyeongsan, has a very slow tempo (jangdan), creating a static atmosphere, while the final piece, Gunak, concludes with a cheerful and lively rhythm. Depending on the instrumental organization, it is divided into three variations: the quiet 'Jul pungnyu' (String Yeongsanhoesang) centered on the geomungo, the loud and brilliant 'Gwanak Yeongsanhoesang' (Pyojeongmanbangjigok) centered on the hyangpiri, and 'Pyeongjohoesang' (Yuchosinjigok), which is majestically played by transposing the String Yeongsanhoesang a fourth lower.
Looking at the philosophical and religious meanings, it initially contained a religious aspiration to recreate the peaceful and sacred space of Buddhist enlightenment. However, after becoming instrumental music, it became strictly rooted in the 'Jeongak' (Righteous Music) ideology of Joseon Confucianism. Based on the aesthetic of 'Aeibulbi' (sorrowful but not tragic), which does not blatantly reveal peripheral emotions like sadness or joy, it served as a philosophical means for scholars to control their minds through melodies and seek the harmony of the universe, focusing on self-cultivation and character building.
In conclusion, Yeongsanhoesang is a massive instrumental suite that evolved from a Buddhist vocal piece, meeting the Confucian philosophy of scholars within the historical background of Joseon. Within a sophisticated musical progression that starts at an extremely slow tempo and gradually gains vitality, it simultaneously captures religious sacredness and the thorough internal restraint of Confucian scholars, standing as the most important artistic crystallization in Korean music history.
우주의 모든 법(현상)은 본래부터 항상 스스로 적멸(고요하여 번뇌가 꺼진)의 모습이니라. 불자가 이 도를 온전히 행하면 내세에 마침내 부처가 되리라.
All phenomena from the very beginning are always characterized by tranquil extinction. When the sons of the Buddha have fulfilled this path, in the world to come they shall become Buddhas.
묘법연화경(妙法蓮華經) 제2 방편품(方便品)
Lotus Sutra, Chapter 2 (Expedient Means)
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