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『전등신화(剪燈新話)』주석본과 『김오신화(金鰲新話)』비평본의 전파와 회귀
최용철 ( Yongchul Choe ) 고려대학교 민족문화연구원 2015 民族文化硏究 Vol.66 No.-
중국 명대 瞿佑(1347-1433)의 『전등신화』는 한국과 일본, 베트남 등의 나라에 많은 영향을 끼친 전기소설이다. 『전등신화』는 조선에 전해진 후에 상세한 주석을 달아서 『전등신화구해』로 만들어졌다. 이 책은 일본에 전해져 주석을 그대로 담은 채 재간행되었고 또한 널리 전해졌다. 『전등신화』는 조선과 일본에서 매우 유행하면서 문인들의 읽을거리가 되었고 한문교과서 역할도 하였지만 청대 중국에서는 흔하지 않았다. 1917년 중국인 董康은 일본간행본 『剪燈新話句解』를 가져와 상해에서 간행하면서 주석을 모두 삭제하고 본문의 내용만 남겼다. 중국의 고전이 외국에서 더욱 환영을 받았지만 막상 본국으로 회귀할 때는 외국에서 덧붙인 주석을 모두 삭제하고 말았다. 金時習의 『금오신화』는 조선 최초의 한문소설집으로 일컬어지는데 윤춘년에 의해 조선간본이 나왔지만 막상 조선에서는 남아있지 않았다. 일본에 전해진 후 세차례 간행되었고 明治연간에는 序跋批評本으로도 간행되었다. 일본의 당시 저명한 한학가들의 비평이 실려있는 이 책은 1927년 한국의 崔南善에 의하여 비로소 한국에 소개되었지만 모든 비평을 삭제하고 소설 본문만 수록하였다. 『전등신화』와『금오신화』는 각각 이웃 나라에서 간행된 책을 본국으로 역수입하면서 외국인에 의해 만들어진 주석이나 비평을 모두 삭제하고 중시하지 않았다. 두 작품의 전파와 회귀의 과정이 매우 유사함에 주목이 된다. Qu You’s New Tales Told by Lamplight (Jiandeng Xinhua), from the Ming Dynasty, has had a huge influence on the novels of many countries, such as in Korea, Japan, and Vietnam. After Jiandeng Xinhua was introduced to the Chosun Kingdom, its annotated version - entitled Jeondeung Shinhwa Guhae, compiled by Limgi, and corrected by Yun Chunnyeon - was reprinted with detailed commentaries. Jeondeung Shinhwa Guhae was introduced into Japan and republished without any changes in the commentaries, and was widely accepted. With its popularity in the Chosun Kingdom and Japan, Jindeng Xinhua was read by writers and used as a Chinese textbook. However this was uncommon in the Qing Dynasty. In 1917, Chinese scholar Dong Kang, from Japan, brought Jeondeung Shinhwa Guhae to Shanghai and published the text, leaving out all of the commentaries. There was interest in Chinese Classics overseas, however, all of the foreign commentaries were removed when it returned to China. Kim Shisuep’s New Tales Told in Mt. Geumo (Geumo Shinhwa) was referred to as the first novel written in Chinese in the Chosun dynasty, and its woodblock first edition was published by Yun Chunnyeon. Still, no information remains from the Chosun dynasty about the published book. After the introduction of Geumo Shinhwa to Japan, it was republished three times. Also, the Critical edition was published during the Meiji period. This edition, which included criticisms from prominent sinologists of the time, was finally introduced to Korea by Choe Namseon in 1927, only with its novel text, and did not include all of the criticisms. In the case of Jiandeng Xinhua and Geumo Shinhwa, both countries, China and the Chosun dynasty, ignored all commentaries and criticisms made by foreigners when they re-imported the books, which were published overseas. It is noticeable that these two texts were both disseminated abroad and returned to their countries in very similar ways.
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최용철 ( Choe Yongchul ) 중국어문연구회 2017 中國語文論叢 Vol.0 No.83
In Qing-editions of Hongloumeng we can find two different kinds of illustrations. Some illustrations appear as illustrations that are embedded in the edition (揷圖, chatu), while others are published as an extra picture book (畵冊). This paper discusses the characteristics of chatu in four representative editions. We can find chatu that visualize the main characters and those that depict important scenes of the story. The first edition of Hongloumeng that includes chatu is the Cheng-edition, compiled by Cheng Weiyuan (程偉元) in 1791. It includes 24 illustrations. The Wang-edition with comments by Wang Xilian (王希廉) appeared in 1832 and has 64 illustrations that show the main characters in combination with plants. Relating the characteristics of a person to the image of a flower was one way of commentary. Jinyuyuan (金玉緣), which was published as lithographic edition around 1884, begins with 120 illustrations of the characters followed by 240 illustrations of visualizing the story. This masse of illustrations helped the edition to survive in the competition with other works of illustrated narrative fiction. Shitouji (石頭記), which was published in 1892 as stereotype edition, used a totally new method according to which each illustration could be changed. It includes 19 illustrations of characters and 240 illustrations that depict parts of the story. Illustrations in works of narrative fiction can be understood as a new reading of the characters and the story. But it was also the only way for its popularization.
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≪홍루몽(紅樓夢)≫과 ≪금병매(金甁梅)≫의 서사 구성 설정 비교 연구 ― 여성 인물 구도를 중심으로
주준영 ( Joo Junyoung ),최용철 ( Choe Yongchul ) 중국어문연구회 2017 中國語文論叢 Vol.0 No.81
This thesis discussed the possibility of the relationship between Jinpingmei and Hongloumeng. In the introduction, the comparative study of existing Jinpingmei and Hongloumeng pointed out the limitations that have been narrowed down to certain factors, such as uniqueness or scenes. Next pointed out the possibility the diagram of female figures linked to the main male figure in Jinpingmei, influenced the relationship between male and female characters of Hongloumeng. The diagram of female in Jinpingmei figures is based on the effect force from main male character, and this trend appears similarly to Hongloumeng. In addition, the story plot technique in Jinpingmei which using the meaning of name of characters as the way of foreshadow implies a similar aspect to Hongloumeng, the names of characters especially female are expressing not only the evolution of the event and the whole of the story, but also their awareness of the themes of them and the main theme of the whole of the novel. These connote the spatial order, can be read anew by the way of new interpretation of background space, and sought to compare the relative correlation in the future setting of space.
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