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도설백과사전으로서의 『고금도서집성(古今圖書集成)』-청대 전기의 문자정책과 삽화-
고인덕 중앙대학교 외국학연구소 2014 외국학연구 Vol.- No.27
This paper investigates『Gujintushujicheng』which is recognized as one of the most well-known encyclopedias in China. This paper analyzes the background of compilation and the intent behind the compilation with a viewpoint of fusion of letters and illustration. Furthermore, this paper reexamines the characteristics of the illustrations. 『Gujintushujicheng』has over 6400 illustrations and is an extensive encyclopedia. The background to the encyclopedia's compilation is the letter policy of the Qing Dynasty.『Gujintushujicheng』was compiled by Chenmenglei(陳 夢雷) in Yinzhi(胤祉)'s interest. Chenmenglei(陳夢雷) served Yinzhi (胤祉), who was the third son of Kangxidi (康熙帝). In other words, there was political intention behind the compilation. The reason why the compilation was closely related to political power is because the nomadic Qing Dynasty conquered the Han nationality. To control the letters, compilation of books was used as a means of persuasion. The Qing ruling class recognized the efficiency of the letters and illustrations and used visual images politically by compiling and publishing many illustrated editions at the Wuyingdian(武英殿) of the palace. The reason why 『Gujintushujicheng』 was edited and published in Wuyingdian is because during historical times, illustrated editions were already prevalent in the late Ming Dynasty. Also, from his youth, Kang xi di realized the importance of maps and he experienced the efficacy of illustrations from learning new scientific knowledge from Christian missionaries. Through the editing and compilation intent of『Gujintushujicheng』 by analyzing the illustrations of the editor, one can understand that there was clear reasoning behind attaching the illustrations. In other words, the explanation of the letters was foundation, but there was clear realization of the influence of the illustrations. 『Gujintushujicheng』was published after the encyclopedia 『Sancaituhui(三才圖會)』, so the need for illustrations was more definitely acknowledged and there were clear choices in attaching or not attaching the illustrations to certain items. The illustrations in 『Gujintushujicheng』 are detailed and show characteristics of prints published by the Palace of the Qing Dynasty, but overall the illustrations are of practical purposes to process information. Moreover, the illustrations are less creative and artistic. However, there are many scientific illustrations which reflect usage of what was then new Western scientific knowledge. In some animal illustrations, the details are more realistic than the ones in 『Sancaituhui』. In other words,『Gujintushuji cheng』 is one of the most successful of the illustrated books by the Palace of the Qing Dynasty.
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고인덕 연세대학교 인문학연구원 2011 人文科學 Vol.95 No.-
中國開始文字生活흔久了,與此同時表示文字的單詞也有幾種,本文考察了表示文字的單詞。卽考察表示文字的單詞的本意及其淵源,幷且通過考察那些單詞的歷史演變,從而考察了中國人對文字持有什마樣的看法。中國從以前就開始用``文``、``字``、``文字``、``書``、``名``、``書契``、``漢字``等單詞表示文字。其中以相對來說흔早就開始使用而且所占比重흔大的``文``、``字``、``文字``、``書``、``名``爲中心進行了考察。考察方法如下:首先,以東漢許愼的『說文解字』爲中心考察表示文字的那些單詞的原意,從而發現了那些單詞具有文字意思的原因。其次,調査不同的時代나些文字用來表示文字的意思,特別是在古代中國나些文字最早用來表示漢字的意思,由此考察了其先後關系。而且通過上面的考察過程,考察了中國人的文字觀念與文字對中國人有什마意義。
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고인덕 중앙대학교 외국학연구소 2012 외국학연구 Vol.- No.19
『文心雕龍』是中國古代最偉大的文學理論著作, 全書體大思精, 從來人們對該書非常重視, 但是在對『文心雕龍』硏究中, 除一些注釋、解說性的文字之外, 關於「練字」篇的專題性文章爲數甚少。「練字」篇的內容分爲兩部分, 其一是漢字的起源、變遷、敎育、政策等屬爲漢字學的部分, 另外一是對於選詞的修辭學部分。依筆者看法漢字學的部分與識字有關, 修辭學部分與練字有關, 識字是練字的基礎, 「練字」篇的這兩個部分是密切相連, 都顯示着漢字的特性。 漢字巨大影響中國文學, 有人說古典詩文, 與其說是語言藝術, 不如說是文字藝術, 所以本論文從漢字與中國文學的關係進行考察「練字」篇的體制與內容。 筆者認爲在硏究「練字」篇上本論文的硏究方法非常合適, 「練字」篇是在中國古典時代顯示漢字特性的唯一有體系的文學理論書。
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≪시경(詩經)≫의 도상화(圖像化) ― 경서(經書)ㆍ그림ㆍ문자
고인덕 대한중국학회 2015 중국학 Vol.50 No.-
In this dissertation, we try to find out the iconization of Shijing(詩經). In order to have better understanding of Shijing(詩經), different analysis was done in the matter of the confucian classic side. In ancient China, they had very old tradition of reading books in a specific way, which is called ‘Zuo Tu You Shu(左圖右書)’. This means that people would read books with the picture on the left side of the book, and the Chinese characters on the right side of the book. Because of this, iconography of the Shijing(詩經) varied after Late Eastern Han Dynasty period of time. The Illustration of the Shijing(詩經) can be divided into two kinds depending on the characteristics of the picture. The first kind is practical paintings of all things, which depicts flowers, tree, fish, or regular things in the daily life, and the second kind is poetry-based-Paintings, which translate poem into drawing. However, in my dissertation, I argue that the illustration of the Shijing(詩經) can be divided into three kinds, and the last one is character paintings. all three of this pictures contributed to the interpretation and dissemination of the Shijing(詩經). However, specifically character paintings mostly highlighted the confucian classic side of the Shijing(詩經). So far, illustration study of the Shijing(詩經) belittled the character paintings. This was because they had many letters, but few illustration that depicts the feature of the figure. However, if we look at the view of the letter studies, we need to pay more attention to the visual effect of the letter characters. That is because, visual aspects of letter characters can have enormous effect on the readers since they can incorporate more value beyond its own literal meaning of the letter.
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풍격용어 '신기(新奇)' 로부터 고찰한 공안파(公安派)와 경릉파(竟陵派)의 문학이론
고인덕 중국어문학회 2001 中國語文學誌 Vol.9 No.-
關於在晩明時期活動的公安派與竟陵派的關系, 大致有兩個觀點 一是以錢謙益爲中心主張的, 就是竟陵派爲矯正公安派起. 二是劉大杰等主張的, 竟陵派是公安派的亞流. 在此, 我們推測到兩 個流派的文學觀念上有相同面與不同面, 又硏究兩個流派的文學理論上的差異可以做爲重要的硏究題目. 所以關於這個題目我己寫了一篇論文, 在本論文又比較探討公安派與竟陵派的'新奇'槪念. 這兩個流派的'新奇'槪念大不同. 公安派的袁宏道認爲作者的'性靈'表現的作品都是‘新奇’的作品, 貴重的作品. 再說, 他說的'眞詩'都是‘新奇’的作品. 在此他用的'新奇'槪念不指特定的風格, 可以說他的觀念上沒有'正'與'奇(新奇)'的區別, 又沒有優劣觀念. 령一方面, 竟陵派的鐘惺認爲'新奇'風格重要而'厚(正)'比'新奇(奇)'更重要. 鍾惺的觀念上有'正'與'奇'的區別, 又有優劣觀念. 鍾惺有優劣觀念, 所以他主張爲到達最理想風格的'厚'應刻讀書養氣, 可以說在竟陵派的詩文理論上'學'是非常重要的.可是袁宏道沒有優劣觀念, 又强調自然狀態的'性靈', 因此他的詩文理論上'學'是不重要的. 以上, 從'新奇'槪念可以了解那兩個個流派的文學理論的核心事項, 那就是因爲'新奇'是表現'變'槪念的風格.
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