도함(道咸)연간의 대가 기준조(祁寯藻)와 조선 문인 이상적(李尙迪)의 교류 = Exchange between Jun Zao Qi the master of Daoguang and Xianfeng periods and Sang Jeok Lee a Joseon writer

다국어 초록 (Multilingual Abstract)

Jun Zao Qi is a person who lived during Daoguang and Xianfeng periods with highest political status, leading a new academic tradition called the study of statecraft and playing an initiative role in the Songshi movement with emphasis on poetic education. He was considered as a high ranking official and expert Confucian scholar by future generations. Sang Jeok Lee had a wide social relationship with Beijing in the early and mid 19th century. He first encountered Jun Zao Qi, a senior government official of the second rank at the time, at the New Year``s ceremony of 1837. However, their exchange actually started in 1858, about 20 years after the first encounter. In the meanwhile, Sang Jeok Lee continued to form social relationship with literary men around Jun Zeo Qi such as Mu Zhang, Zhi Yi Feng, Ming Feng Ye, Xian Yi Kong, and Zheng Wang. Sang Jeok Lee was enjoying poetic feast with his friends in Beijing, and Jun Zao Qi participated to share exchange of liberal arts based on responding with poems. Furthermore, during the commissioner mission of Sang Jeok Lee in 1863, Jun Zao Qi actually used his status as a teacher of the emperor to help correct improper records about the lineage of Joseon kings in the shortest time. Jun Zao Qi acknowledged creativity of Sang Jeok Lee and his role as a Joseon mission to Imperial China through responding with poems and conversations. This was the best possible acknowledgement for Sang Jeok Lee, who had restricted status at home. Moreover, they continuously shared literary styles and academic styles of both countries through exchange of reference materials. Especially, Jun Zao Qi exchanged the mainstream trend of the literary circles of Qing at the time which attempted to respect the ancient studies, advocate traditional Confucianism of East Asia, and prevent cultural invasion of the Western world by sending his handwritten calligraphy called <Hanwen Gongmiao Pinghuaixibei Taben> and Xiaokan Yingsongben Shuowen Xichuan he typeset. Such details can help examine accommodation and utilization by literary disciples of Sang Jeok Lee and literary men of coming generations.