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권석환 한국중국학회 2009 國際中國學硏究 Vol.0 No.12
江南地域文化有七千年歷史. 江南地域, 南宋以來商業資本發達, 通過與文化藝術緊密結合, 占據中國近現當代的經濟⋅文化的核心. 此外, 江南地域是作爲東亞國家之間的文化交流⋅東西交流的樞紐. 這樣,江南文化從中世中期到現當代占了東亞地域文化的核心地位. 江南文化産生了江南曲水流觴文化⋅明代以來浙派⋅吳派⋅揚州畵派⋅海上畵派的繪畫藝術⋅南宋以來的新安朱子學. 韓國人經過三國時代以來一千餘年對中國文化的學習接受, 在韓國固有土壤上, 發展了具有韓國特色的文化. 特別對江南繪畵⋅景觀文化⋅新安朱子學的接受基礎上, 打開了兩國文化交流的大門, 進一步促進了韓國文化的形成和發展.
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논문(論文) : 중국 연화(年畵) 속에 담긴 문화코드 탐색 -계층 상승으로서의 욕망(慾望)과 이데올로기 전파로서의 교화(敎化)의 결합
권석환 한국중문학회 2011 中國文學硏究 Vol.42 No.-
到明中期以後, 出版印刷和視覺媒體的變化, 對文化和知識的認識體引起了變化. 年畵作爲一種視覺媒體, 反映了大衆的審美趣向, 表達人民大衆現實生活的希求和願望. 年畵作爲提供文化知識的敎育媒體, 同時也是信息媒體, 成了符號的流傳(iconiccircuits)的載體. 統治階層的統治理念和敎化作用深深地潛藏在年畵中. 因此, 傳統繪畵的畵題形式繼續地對年畵創作起了影響, 進行了年畵和文人畵的交融. 在中國傳統社會, 忠孝是倫理觀念, 同時也是統治理念. 年畵的對國家盡忠, 對父母盡孝的人物, 促使統治理念的擴大和堅持. 名利祿是人民大衆追逐的願望. 壯元及第和魚龍變化以及升官圖等形象的年畵在民間最流行. 總之, 年畵是在統治理念和願望的之間, 互相衝突和和諧的産物.
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어문학부(語文學部) : 춘추전국시대(春秋戰國時代) 명언(名言)의 핵심 내용과 표현미
권석환 한국중국학회 2015 중국학보 Vol.71 No.-
春秋戰國時代的名言在中國文化史上最極盛, 而且給後代留下來深大的影響. 本論文考察了春秋戰國時代名言즘마可以長期以來人口膾炙, 深受廣大人們的喜愛. 春秋戰國時代名言的核心內容在諸子百家提到的人性論. 當時的人性觀念可以提供突破天命論的機會. 諸子百家主張的‘仁’·道·無爲·法術等核心理論裏面包含了人性論的問題. 諸子百家的名言强調人性修養比天道地利的重要性, 所以不管時代變遷壹直受到大衆的呼應. 到春秋時代發生從‘學在官府’到‘學在私人’的變化, 人性涵養的道德敎化在學習和實踐結合和敎學相長的基礎下, 與禮樂結合敎化方法合作解抉人們之間的矛盾關系. 所以在春秋戰國時代名言當中與他人之間和諧相處的名言占有相當多的比率, 實現人們之間的和諧關系, 進壹步解抉個人和社會的矛盾關系, 運用中庸之道,是控制過分,保持心態平衡. 春秋戰國時代各諸侯國都具有富國强兵和大統壹的願望, 因而禮賢下士, 樹立‘任賢’傳統, 引發國家興盛的統治哲學. 任賢使能可能謹守文化權力與政治權力邊界. 春秋戰國時代名言運用對句構造和肯定否定的對比手法, 使核心內容更鮮明,感受更强烈. 名言活用比喩手法, 把深刻的道理淺顯化,把抽象的理致具體化, 提高名言的語言效果. 名言常常利用數字來使人進行段階式的的理解, 劃分彼此界域。
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권석환 중국어문연구회 2018 中國語文論叢 Vol.0 No.85
This study aims to identify the origin of the Xiaoxiang Eight Scenic Spots and the landscape culture, which began in the Ding in the Northern Song Dynasty. The Eight Scenic Spots is the result of ‘the proprietary of natural space’, ‘human geographic expression of Xiaoxiang region’, and ‘Pingyuan landscape of Xiaoxiang region’. It is closely related to the landscape culture of the Tang dynasty. Particularly, Liu Zongyuan, who was relegated to Xiaoxiang region, and others tried to classify, name, and inscribe the natural landscape through ‘Bayu’ and ‘Baji’. It is the proprietary of the natural landscape indicated in the Eight Scenic Spots. Liu Zongyuan said that Xiaoxiang region was a remote area, 3,000 ri away from the capital, and the land of barbarian, and people of this region lived in the fog. The abundant wetlands and wide plains mostly match with the landscape of the Xiaoxiang Eight Scenic Spots. It can be said that the experience, sightseeing, and the portrayal of the scenery of Liu Zongyuan influenced the selection of the Eight Scenic Spots. Underappreciated feeling of Liu Zongyuan, which was described in ‘Yuxishixu’ and ‘Yongzhoubaji’ was in the same line with ‘enmity’ and ‘discharge’ images of Xiaoxiang region, accumulated in Xiaoxiang Eight Scenic Spots Figure. ‘Chicunqianli’, suggested by Liu ZongYuan in ‘Yongzhoubaji’, was connected to the artistic conception of Pingyuan landscape in Xiaoxiang Eight Scenic Spots Figure. Moreover, the ‘emptiness seek with spirit’ and ‘static seek with mental led to the ‘nihility and reality combining’ and ‘writing nihility in reality’ stages of Chinese landscape painting. Consequently, ‘Bayu’ and ‘Baji’ of LiuZongYuan spread to Xiaoxiang region beyond Yongzhou and met the Xiaoxiang Eight Scenic Spots.
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북경팔경(北京八景)과 명초(明初) 문인(文人)의 산수경영 고찰
권석환 중국어문학회 2018 中國語文學誌 Vol.0 No.65
The study is about how “BeiJing Eight Scenic Spots of early Ming Dynasty” is different from its previous times. Also, the study has recognized the writers’ literary character by looking at where they came from and their government services. Consideration is given to the literary expression shown in “The poem of BeiJing Eight Scenic Spots.” Although the BeiJing Eight Scenic Spots of early Ming Dynasty is the emulation of previous times of Eight Scenic Spots, it is a necessary part of Landscape management that needed to move the capital and build the imperial capital. Also, the study of BeiJing Eight Scenic Spots has been approached from a political geography perspective and understood the safety of power and the beauty of landscape in an analogical relationship. Furthermore, many of the writers at that period used the setting and description of the landscape as a meaning of national achievements. Most of the writers of BeiJing Eight Scenic Spots are from JiangXi Province, and worked for Imperial Academy, Hanlimyuan. They provided the ideology of the national managements, and they have something in common that participated in the institutionalization of big-budget productions. Finally, the writers of the BeiJing Eight Scenic Spots praised the achievements of dynasty, thanks for the dynasty’s bless, and compliment the permanent power of the government.
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