고대 중국의 이역(異域)담론의 시각적 재현 ― <만국직공도(萬國職貢圖)>에 나타난 이역상상

宋貞和 ( Song¸ Junghwa ) 중국어문학회 2021 中國語文學誌 Vol.- No.74

In this paper, I studied how Sinocentrism (中華主義) and Huayi view (華夷觀) were reproduced in the picture text, focusing on< Wanguozhigongtu > which is believed to have been produced during the Ming Dynasty. Chapter 2 discussed the period of establishment with the author of < Wanguozhigongtu >. < Wanguozhigongtu > was originally known to have been painted by Lee Gong-rin (李公麟) of the Song Dynasty, but it is recently argued that it was produced during the Ming Dynasty. This high school comprehensively considered existing academic studies, and estimated the production period as named. In this paper, the period of production of < Wanguozhigongtu > was estimated in the Ming Dynasty by comprehensively examining existing academic studies. Chapter 3 analyzed the characteristics of < Wanguozhigongtu > by comparing the contents of the description section of < Wanguozhigongtu > in the form of a combination of paintings and writings with historical materials. As a result, < Wanguozhigongtu > not only referred to existing historical books, but also described the imaginary translation as a tribute country in accordance with the form of the < Zhigongtu (職貢圖) >. And the background of these results was the active production of paintings such as the prosperity of the tribute trade during the Ming Dynasty, interest in foreign countries, historical literature and < Shanhaijingtu (山海經圖) >. In Chapter 4, the unique way in which < Wanguozhigongtu > composes foreign countries in paintings was divided into two types: formal and comic. < Wanguozhigongtu > had its own way of constructing characters and spaces, and reproduced the Huayi view in the pictu

영화 ≪美人魚≫: 경전의 해체와 낯설게 하기

송정화 ( Song Junghwa ) 중국어문연구회 2017 中國語文論叢 Vol.0 No.82

The story of The Little Mermaid is very familiar to us. However, the 2017 film The Mermaid(美人魚) makes us feel unaccustomed and strange. This paper focused on analyzing how such foreignness was built. First, The Mermaid portrays all the characters in The Little Mermaid but their personalities are altered from top to bottom. What used to be customary and noble were transformed to something comic and even improper, and at the moment when the rigid scripture is deconstructed, Stephen Chow`s unique nonsensical laughs transpire. Second, The Mermaid is filled with the regional culture and sentiment of Hong Kong, disparate from its western version. Without certain knowledge of Hong Kong, such as their languages, Cantonese Chinese and Hong Kong English, celebrities and cinemas, the delicately and furtively placed contexts of satire and laughter cannot be appreciated. This is why viewers from other areas experience unfamiliarity with this film. Third, The Mermaid employs a Chinese mermaid story that is different from its western counterpart. For a better understanding, this paper introduces various mermaid stories indigenous to China, including Classics of the Shanhaijing(山海經) and Guangdongxinyu(廣東新語), as well as Chuanqi(傳奇) novels of Tang dynasty and Liaozhaizhiyi(聊齋志異) of Qing dynasty. Lastly, The Mermaid tells a story that transcends the subject of `pure love`, which was the essence of The Little Mermaid. Such environment is an unfamiliar subject from The Little Mermaid. Stephen Chow uses the species of mermaid that we must understand others and embrace the animals and nature.

≪서역행정기(西域行程記)≫와 명초(明初)의 서역(西域)

송정화 ( Song Junghwa ) 고려대학교 중국학연구소 2019 中國學論叢 Vol.0 No.64

Xiyuxingchengji is the travel journal of Chen Cheng who visited the West from the 11th to the 12th year of Emperor Yongle of the Ming Dynasty(1413~1414) and presented his journal to the emperor. It records the travel schedule of the delegations for 2 years by date, events, and itinerary. Emperor Hongwu of the Ming Dynasty aimed at driving out the power ofMongolian and building a powerful empire of the Hun. Emperor Yongle dreamed of the world where the foreign invaders of all directions brought tribute to China. Therefore he expanded the national territories and sent Zhenghe to Southeast Asia to announce the power and grace of the Emperor. However Ming could not rule the West. The West was ruled by the Timur Empire with a powerful army and the legacy of Islams. The Timur Empire conquered the entire Central Asia and even India and Europe. Therefore Ming needed to maintain amicable relationships with Timur Empire for its own substantiality. Xiyuxingchengji is the record of Chen Cheng who was the envoy of Ming to travel to the West despite the hardships. This study discussed Xiyuxingchengji to analyze the relations between Ming and the West at that time. Also, Ming at that time did not receive tributes from the West.

≪함빈록(咸賓錄)≫: 명대(明代) 지리서에 재현된 이역(異域)

송정화 ( Song Junghwa ) 중국어문연구회 2018 中國語文論叢 Vol.0 No.90

As stated in the title, Xianbin lu, this piece discusses the discourse of China-centered history of tributes that all foreigners of the neighboring countries came to China as guests to donate tributes spontaneously and the purpose of these tributes were not to benefit China but to console themselves. Since the Zhou Dynasty, China has repetitively told in the historical and geographical texts the Chinese view of ideal ‘tianxia’ and this imaginary view of ‘tianxia’ combined with the Confucian ethics to make the foreign countries appear to the ancient people as the barbaric lands where China’s ritualism has not reached. The author of Xianbin lu created a specific discourse of his objective view of China and the foreign countries-a virtual space including the peoples and countries outside China-using a variety of epic tools. The creation of discourse within the scope of ‘geographical text’ reaffirmed the traditional Chinese Sinocentrism and justified the ideology that conveyed its subjective universality. This study analyzed the epic tools adopted by the author of Xianbin lu to discuss his objective view of Sinocentrism based on this historical ideologies of the Ming Dynasty and make it a universally justified logic of China, and attempted to discover their significance.

명대(明代) 필기(筆記)에 재현된 서역(西域)

송정화 ( Song Junghwa ) 중국어문연구회 2019 中國語文論叢 Vol.0 No.94

In this paper I discussed how Ming’s perception of the West was reflected in Biji of the Ming Dynasty. The writing pieces analyzed here were Xiyufanguozhi, Shuyuanzaji, Mashirichao and Shuyuzhouzilu. Also other historical texts and writing pieces were excerpted when it was necessary for the analysis. Considering the descriptions of the West in Biji of the Ming Dynasty, foreign cities were mostly depicted. Western cities, unlike the Chinese cities, were filled with Islamic mood and glamorous structures. The West was represented by the Timur Empire that unified Central Asia at that time. The cities of the Timur Empire, such as Herat, Samarkand, and Bukhara, established many glamorous and magnificent structures symbolizing devotion to Islam and the authority of empire. Also, people gathered around the structures to form cities and create civilizations. Biji of the Ming Dynasty state that the Islamic Bazaars opened in the major cities for active economic activities. Also, Biji of the Ming Dynasty describes an open social environment where men and women were able to make conversations and share jokes. This manifests that the women who are currently being discriminated in the Islamic societies were treated more equally and liberally in the 15th~16th Centuries. Biji of that time also had a unique perspective toward the western monks. The monks of the West were perceived as mysterious non-Chinese foreigners and distorted as other beings. Finally, Biji of the Ming Dynasty often discussed the drugs, incenses, and animals produced in the West. They became the key words in Biji of the Ming Dynasty to create the image of the West as a mysterious, exotic foreign place.

국제도시 경관지침 분석 및 경관지침에 따른 건축입면색채디자인사례 제안 - 고덕국제도시 중심으로

송정화(Song, JungHwa) 한국색채학회 2020 한국색채학회 논문집 Vol.34 No.3

This project proposes a landscape design guideline of Godoek District based on the thorough review of guidelines for other international cities, such as Chungna, Songdo, and Yeongjong included in Incheon Free Economic Zone(IFEZ). The project was developed in the following steps. Firstly, the landscape project of IFEZ was taken as the reference, in particular, the Cheongna city as it has a similar scale with Godeok. The two cities were comparatively analyzed concerning the landscape structure, composition, contents, and applications. The landscape guidelines for the building facade were then suggested for the Godeok district, where the color design was essential for the architectural elevation. The color landscape guidelines remarkably contribute to improving the urban landscape design. In this way, the project intended to apply the landscape plan guideline of the IFEZ for a detailed landscape design guideline of the Godeok District. Ultimately, it is expected that the visualized examples in this study adequately envision the color landscape guidelines of the Godeok district.

명대 동물 조공의 문학적 재현과 의미에 대한 탐구 ― 사자부 와 서응기린송 을 중심으로

송정화 ( Song Junghwa ) 한국중국학회 2023 중국학보 Vol.103 No.-

본 논문에서는 조공이 체계화되고 본격적으로 가동되기 시작했던 明代를 중심으로 당시 동물 朝貢이 문학적으로 수용되면서 賦와 頌이 집중적으로 창작되었던 현상을 주목하고, 작품 속에 華夷觀적인 세계관이 어떻게 구현되었고, 계층 간의 위계질서는 어떻게 형성되었는지를 분석하였다. 또한 명초의 詩賦류 작품들에서 異域의 사자와 기린이 吉兆로 해석될 수 있었던 원인을 당시 사대부 지식인 계층의 지식에 대한 권력과 관련하여 그 의미를 살펴보았다. 본 논문에서는 우선 당시에 동물을 주제로 한 작품이 다수 나올 수 있었던 배경으로, 홍무제부터 영락제에 이르는 명초의 상황이 漢族 중심의 제국을 건설해가는 과정이었음에 주목하였다. 華夷觀의 시각을 바탕으로 中華를 중심으로 한 세계관을 구현하기 위해, 영락제는 조공 시스템을 견고하게 구축하고자 했고, 그 과정에서 이역의 동물들이 명으로 유입되었다. 또한 필자는 영락제의 왕위 찬탈의 이력과 역사적인 정통성에 대한 갈망이 당시 사대부 관료들로 하여금 주군과 제국을 찬양하는 작품을 창작하도록 이끌었고, 그 과정에서 동물 조공이 ‘賦’라는 제도적인 문학 장르와 만나면서 「獅子賦」와 「瑞應麒麟頌」의 創作熱을 일으켰음을 분석하였다. 다음으로 필자가 주목한 것은 명대의 사대부 관료들이 왜 長頸鹿(지금의 기린)을 상상 속의 기린과 동일시하여 실제 조공된 형태와 다른 이미지로 묘사했는가 하는 점이었다. 여기에는 두 가지 원인을 찾을 수 있었는데, 첫째로 장경록을 중국의 상상 속 瑞獸인 기린과 동일시하여 나라와 주군을 歌功頌德하기 위함이었다. 둘째, 당시 사대부 계층은 단지 이역의 신비한 동물인 장경록을 가공송덕의 목적으로만 이용한 것이 아니라, 장경록을 ‘기린’이라는 상서로운 징조로 파악하는 것 자체에 중요한 의미를 두었다. 그들은 새로운 해석 체계를 만들어 그것을 ‘부’로써 담아냈고 사회적으로 공유했으며, 궁극적으로 지식의 패러다임을 장악하는 고유한 권력을 확보하고자 했다. 기존의 賦에 대한 학계의 인식은 지배계층의 요구를 충실히 반영하고 향락적인 욕망에 부응하며, 현실적인 메시지보다 형식에 치중한 御用문학이라는 것이 일반적이었다. 그러나 본고에서는 명대의 「사자부」와 「서응기린송」을 통해 동물을 주제로 한 詩賦류에는 여러 복합적인 창작의 動人들이 얽혀있고, 기존에 알려진 바와 같이 군주로부터 신료, 백성에 이르는 위계질서에 따른 권력의 흐름만 존재하는 것이 아니라, 詩賦류의 작자였던 사대부 계층의 권력에 대한 욕망 역시 중요한 요인으로 작용하고 있음을 밝혔다. In this paper, I focused on the phenomenon that animal tributes were literary represented and the works of Fu(賦) and Song(頌) were actively created, focusing on the Ming Dynasty, when tributes began to be systematized. And I analyzed how the worldview of Chineseism was embodied in the work and how the hierarchy between classes was formed. In addition, the reason why foreign lion and giraffe could be interpreted as symbols of auspiciousness in the works of ‘Fu’ in the early Ming Dynasty was examined in relation to the power of the ‘knowledge’ of the noble class. In this paper, I first investigated the background of many animal-themed works at the time, and noted that the early Ming Dynasty situation from Emperor Hongwu(洪武帝) to Emperor Yongle(永樂帝) was the process of building an empire centered on the Han people(漢族). In order to realize the worldview centered on the Ming Dynasty, Emperor Yongle established a tribute system, and in the process, foreign animals were introduced to Ming. And I analyzed that Emperor Yongle's history of the usurpation of the throne and the desire for historical legitimacy led the aristocrats to create works praising the emperor and empire, and in the process, animal tributes met with the institutional literary genre ‘Fu’, causing explosive creation of “Shizifu” and “Ruiyingqilinsong”. The next thing I noticed was why the aristocrats of the Ming Dynasty identified giraffe with an imaginary qilin(麒麟) and described it as an image different from the actual form of a tribute animal. There were two reasons for this: first, giraffe was identified with China's imaginary auspicious animal, the qilin, to praise the country and its lord. Second, the noble class at the time did not use giraffe, a mysterious animal in this area, for praise purposes only, but also put important meaning on identifying it as an auspicious sign of qilin. They created a new system of interpretation, expressed it as a Fu and shared it socially, and ultimately sought to secure intellectual power to dominate the paradigm of knowledge. The general perception of the Fu was that it faithfully reflected the needs of the ruling class, responded to hedonic desires, and focused on form rather than realistic messages. However, in this paper, by analyzing the Ming Dynasty's “Shizifu” and “Ruiyingqilinsong”, these works were considered to be intertwined with various complex creative drivers. Therefore, I analyzed that as previously known, not only the flow of power along the hierarchy from the emperor to the noble and the people, but also the desire for power of the noble class, who was the author of the Fu, is also an important factor.

≪대당삼장취경시화(大唐三藏取經詩話)≫ 해제(解題) 및 역주(譯註)

정유선 ( Jung Yousun ),송정화 ( Song Junghwa ) 고려대학교 중국학연구소 2018 中國學論叢 Vol.0 No.62

Datangsanzangqujingshihua is also called Datangsanzangfashiqujingji and it is the earliest Buddhist scripture that still exists today. The author is unknown and it is comprised of three books and parts. This book is about the story of Buddhist Priest Xuanzang of Tang China and his quest to the west to bring back the Tripitaka from India. This is the first time that Houxingzhe, which is the original Sunwukong, appears and where Xuanzang first defeats Shensha shen, which is the original form of Sha Wujing and it is viewed as the original format of the Ming China novel on gods and demons ‘Journey to the West’. Datangsanzangqujingshihua impacted the Jin Dynasty plays ‘Tang Sanzang’ and ‘Feast of Peaches’ and the Yuan China plays, ‘Tangsanzangxitianqujing’ by Wu Changling. ‘Erlang Shen Captures Qitian Dasheng’ by author unknown and the ‘Xiyoujipinghua’ by Yang Jingxian, and it became the basis for the novel Journey to the West. Datangsanzangqujingshihua is an important text for examining how a historical case in which a trip to obtain the Tripitaka during the Tang Dynasty was transformed into a fabricated story. Furthermore, as it maintains the oldest form of the Chinese ‘Shihua’, it also has significant value for research in terms of literary history. Therefore, this study disassembled the Datangsanzangqujingshihua that has important historical significance to finds its value and parts that were the most fantastic and that were associated with the novel were translated.

『서유기』 여인국 서사의 현대적 변용과 의미 ― 영화 < The Monkey King 3: 西游記 女兒國 >을 중심으로

宋貞和 ( Song¸ Jung-hwa ) 중국어문학회 2021 中國語文學誌 Vol.- No.76

A main purpose of this study is to examine the modern acculturalization in a story of the ancient Chinese Kingdom of Women and analyze the meaning of a film < The Monkey King 3: The Journey to the West(西游記)·Kingdom of Women(女兒國) >. Chapter 2 summarized the genealogy of the women’s kingdom, from ancient mythical book < Shanhaijing(山海經) > to the novels of the Ming and Qing Dynasties, and revealed that the images of women in a film < The Monkey King 3: The Journey to the West·Kingdom of Women > have changed to independent and contemporary images. In Chapter 3, a film < The Monkey King 3: The Journey to the West· Kingdom of Women > borrowed multinational images of the United States and Japan, which were linked to China’s intention to recognize traditional culture as an important national value and foster it as a global brand power. In addition, the representation of kingdom of women as minority race’s image of China in < The Monkey King 3: The Journey to the West·Kingdom of Women > also revealed that it was connected to the great unity and revival of China that emphasized by China. Finally, this paper pointed out a recent phenomenon of Chinese films interpreting classical works from an ecological perspective, and analyzed that this was a cultural strategy for China, which was criticized by the world in the past, to break away from stigma and become a global country.