중국 연극의 이원구조와 경극

김종진 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.54

The most universal way to understand the landscape of modern Chinese play is by the dual structure of spoken plays and traditional operas. This understands that spoken plays represent modern, nontraditional and western play models and that traditional Chinese operas represent premodern, traditional and Chinese-style play models. This way of understanding seems flawless but it is not quite perfect considering that both of them are presently available theatrical arts. This study examined this unstable dual structure focusing on the history of Peking Opera(京劇) based on the recent outcome of discussion on ‘Colonial Modernity’. Peking Opera is a modern traditional play. First started in the middle of Qing dynasty, Peking Opera was mainly distributed for performance amid the development of modern market economy and urban economy, which is why the role of artists was considered more important than that of writers. However, when the period of Reform Movement of Traditional Opera(戱曲改良運動) came, Peking Operas accepted the participation of intellectual writers. The intellectuals of Reform Movement of Traditional Opera who recognized plays as tools of enlightenment attempted to put topical contents and western stories into their Peking Operas and this changed the form of Peking Operas. The Peking Operas at this time gave up a large portion of its essentialism characteristics and adopted realism. Peking Opera along with Wenmingxi(文明戱), which was a spoken play in the initial stage were called as ‘new theater’ and launched modern Chinese play. When the period of May-Fourth Movement came, Peking Operas were no longer able to participate in the modern Chinese plays. The leaders of the movement considered all the Chinese theatrical traditions including Peking Operas to be justly abolished and tried to establish modern Chinese plays only with spoken plays. This did not necessarily mean that Peking Opera suffered a blow. The performance environment of Peking Opera was still not bad and it also enjoyed great honors through overseas performances. However, due to the situation that it could no longer participate in modern Chinese plays and the eyes of Chinese and foreigners, Peking Operas became conservative rapidly. In the end, Peking Opera became the symbol representing what is Chinese and traditional. The dual structure that Peking Opera representing all the Chinese traditions of theatrical arts was artificial manipulation. Moreover, the dual structure understanding that makes distinction between traditional art model from the implanted western art model is already an idea of ‘Colonial Modernity’. With this kind of understanding, the recent slogans of Chinese theatrical world such as ‘Spoken Play Nationalization’ and ‘Traditional Opera Modernization’ can only dilute the essential properties of spoken plays and traditional operas. The perspective of decolonization overcoming the idea of ‘Colonial Modernity’ can be accomplished through the negotiation between spoken plays and traditional operas.

한민족정보마당DB를 활용한 현대 누정기 연구

박순 열상고전연구회 2017 열상고전연구 Vol.60 No.-

본고에서는 한민족정보마당 사이트에 수록되어 있는 전통옛집DB를 활용하여 1950년 이후에 집필된 현대 누정기에 대해 살펴보았다. 누정기 자료에 대해서는 많은 연구 논문이 축적되어 있지만, 현대에 집필된 누정기에 대해 연구된 바는 없는 것으로 보인다. 조선 말기 과거제가 폐지되고 일제강점기를 거치면서 한문학의 시대는 끝났다고 할 수 있으므로 한문학의 연구 하한선도 일제강점기를 넘지 않는 것이 일반적이지만, 해방 이후 오늘날까지도 한문학 양식을 갖춘 글은 소수에 불과하더라도 지속적으로 쓰여지고 있으며 이 또한 한문학의 연구 대상이 될 수 있다고 본다. 더욱이 공적인 성격을 가지면서 모두에게 공개되는 글이라면 전통문화의 공동체적 계승이라는 관점에서 주목해볼 필요가 있다. 이렇듯 현대에 쓰여진 누정기에 주목한다고 했을 때 옛집DB는 대단히 값진 창구가 되어준다. 이에 본고에서는 전통옛집DB에 수록되어 있는 누정기 중 현대에 집필된 누정기만을 선별하였는데, 방편적으로 1950년 이후를 그 기점으로 하였으며, 선별된 목록을 제시하고 실제 내용을 표기 언어별로 분류하여 살펴보았다. 전통옛집DB는 전국에 소재한 옛집 가운데 주거(住居)․사묘(祠廟)․재실(齋室) 건축만을 대상으로 하였는데, 각각에 대해 1950년 이후 집필된 누정기 목록을 작성해보면 주거 32건, 사묘 53건, 재실 63건 등 총 148편을 선별할 수 있었다. 전근대 시기의 누정기는 표기 언어가 한문으로만 되어 있지만, 현대 누정기는 표기 언어가 3가지이다. 즉, 한문, 한문 현토, 한글로 한문 표기가 가장 많고, 그 다음이 한글이며, 한문 현토는 가장 적게 쓰였다. 이에 본고에서는 한문-한문 현토-한글 표기의 순으로 각 누정기들의 내용을 개관하였다. 현대 누정기에서는 문화재로 선정되었음을 부각하고, 선정되기까지 문중에서 얼마나 노력하였는지 강조한 경우를 자주 볼 수 있는데 전근대시기의 누정기라면 볼 수 없는 면모이다. 또한 현대 누정기는 표기 언어 방식과 관계없이 전통적인 누정기의 장르적 관습을 그대로 계승한 것이다. 그런데 이러한 전통적 방식의 글쓰기를 통해 근대기 이후에 있었던 일을 기록으로 남겼다는 점에서 현대 누정기의 고유한 의미를 찾을 수 있다. 해당 집에 대한 근대기 이후의 역사적 정보를 남겨두어서 후세에 전해질 수 있도록 한 것이다. 본고의 전체 논의를 바탕으로 현대 누정기의 자료적 가치를 정리하자면 다음과 같다. 첫째, 현대 누정기는 과거의 한문학 전통이 현재에도 계승되고 있는 실물 자산이다. 둘째, 건물의 역사에 대한 근대기 이후의 자세한 정보를 담고 있다는 점에서도 그 가치를 찾을 수 있다. 셋째, 한문․한문 현토․한글이라는 표기 방식의 다양함은 현대 누정기만의 특성이라는 점에서 주목할 만하다. 이와 같이 현대 누정기는 그 존재 이유가 충분하다고 할 수 있으며, 한문학 연구자뿐만이 아니라 보다 많은 사람들이 관심을 가졌으면 하는 바람이다. 누정기라는 한문학 전통이 과거의 유물에 그치지 않고 오늘날에도 면면히 계승되고 있다는 것은 대단히 값진 의미가 있다고 믿는다. 본고는 그러한 의미를 환기시키고자 작성되었다. In this paper, we examined the modern writings about traditional houses written after 1950 by using the Traditional Houses DB in the Hanstyle database homepage. Although many research papers have been accumulated for the writings about traditional houses, it seems that no research has been done on modern period. Since the national examination of Joseon has abolished at the close of the Joseon dynasty, the era of classical Chinese literature has ended, so it is common for the lower limit of research not to go beyond the Japanese colonial period. But even after the 1945 liberation, even with only a handful of classical Chinese-style forms, it is still being written, and I think that this can also be the object of research of classical Chinese literature. Moreover, it is necessary to pay attention in terms of community succession of traditional culture if it is a public character and it is open to everyone. When we pay attention to the modern period writings in this way, the Traditional Houses DB becomes a very valuable window. In this DB, I selected the modern writings about traditional houses. As a convenience starting from 1950 onwards, I presented selected lists and classified the actual content by notation language and searched it. The traditional houses DB is only for the residence, the shrine, and the memorial house. If we made a list of each of them written after 1950, the residence was 32 cases, the shrine was 53 cases, and the memorial house was 63 cases. The writings of the pre-modern period are written in classical Chinese only, but the modern languages ​​have three notation languages. In other words, classical Chinese, classical Chinese-Korean, and Korean. In this paper, the contents of each language are outlined in the order of classical Chinese, classical Chinese-Korean, and Korean. In the modern writings about traditional houses, it is emphasized that it has been selected as a cultural asset, and it is often seen that it has been emphasized how much effort was made until it was selected. It is an aspect that can not be seen in the pre-modern period. In addition, the modern writings about traditional houses inherit the genre conventions of traditional ones, regardless of the written language. By the way, it is possible to find the meaning of the modern writings in that it records the work of the present period. The historical information on the house at the modern period was left to be transmitted to the posterity. Based on the whole discussion of this paper, we can summarize the data values ​​of the modern writings about traditional houses as follows. First, it is a real asset whose past classical Chinese literary tradition is still inherited. Second, it contains detailed information about the history of the building. Third, it is interesting that the diversity of notation system such as classical Chinese, classical Chinese- Korean, and Korean. In this way, the reason for its existence is enough, and I hope that not only classical Chinese literary researchers but also more people will be interested. I believe it is very valuable that the tradition of writings about traditional houses is not only a relic of the past, but also to be handed down today. This paper is written to remind you of such meaning.

중(한)의사, 중(한)의의료기관 및 중(한)의학 관련 인식.태도 및 의료행태에 관한 연구 - 중국의 한족, 조선족과 한국인을 중심으로 -

이선동,손애리,유형식,장경호,Lee Sun-Dong,Sohn Ae-Ree,Yoo Hyeong-Sik,Chang Kyung-Ho 대한예방한의학회 2002 대한예방한의학회지 Vol.6 No.2

Over thousands of years oriental traditional medicine has developed a theoretical and practical approach to treat and prevent diseases and to promote people's health in China and Korea. In China, the integration of traditional Chinese medicine into the national healthcare system began in the late 1950s. This was in response to national planning needs to provide comprehensive healthcare services. On contrary to China, South Korea established the parallel operation of two independent medical systems in 1952. Hence there has been a political conflict between oriental and modern medicine over issues of fee, the ability to sell and prescribe herbal medicines, and the licensing of practitioners in traditional medicines. Given this background. This study is to compare peoples' attitudes and opinions for oriental traditional medicine by ethnicity (Chinese, Korean-Chinese and Korean). Chinese and Korean-Chinese were more used and satisfied with traditional medicine treatment and traditional practitioners compared with Koreans. The proportion of Koreans who reported the cost of traditional treatments was expensive was higher than those of Chinese and Korean Chinese. Most of Chinese, Korean-Chinese, and Koreans reported that they would use traditional medicine: 1) when they would have some disease to be treated best through traditional medicine; and 2) when traditional practitioner had a reputation and lots of experiences for those diseases. Most Korean people reported that oriental and western practitioners should cooperate each other to improve the quality of care. Therefore, policy framework including integration of traditional and western medicine, regulation, etc. is needed. In addition, research is needed to determine which diseases is treated best through traditional medicine.

한국, 중국, 대만인의 전통의학 이용 의향에 미치는 요인 비교

남민호(Nam Minho),김윤지(Kim Yunji),김호선(Kim Hosun),박준형(Park Junhyeong),葉杏伊(Yeh Hsin-Yi),이예슬(Lee Ye-seul),이순호(Lee Soonho),정원모(Jung Won-mo),홍윤기(Hong Yun-Ki),이혜정(Lee Hyejung),박히준(Park Hi-Joon),채윤병(Chae Younbyo 대한한의학회 2011 대한한의학회지 Vol.32 No.1

2015 개정 한문과 교육과정 "한문과 문화"영역 교수, 학습 및 평가 방법 분석

정효영 ( Hyo Young Jeong ) 한국한문교육학회 2016 한문교육논집 Vol.46 No.-

2015 개정 교육과정의 ‘한문과 문화’ 영역 성취 기준은 ‘한문 기록에 담긴 우리의전통문화를 바르게 이해하고, 미래 지향적인 새로운 문화 창조의 원동력으로 삼으려는 태도를 형성한다.’, ‘한자문화권의 문화에 대한 기초적 지식을 통해 상호 이해와 교류를 증진시키려는 태도를 형성한다.’이다. ‘한문과 문화’ 영역의 교수·학습 방법은 이러한 성취기준을 달성하기 위한 구체적인 방법이 되어야 한다. 2015 개정 교육과정의 교수·학습 방법 진술은 이전 교육과정에 비하여 구체적이고, 실제 학교 현장에서 활용이 가능한 활동으로 제시되었다. 그리고 ‘② 유의 사항’을 통하여 교수·학습 방법과유의 사항, 기대 효과까지 진술하고 있다. 한문과 문화 영역의 교수·학습 내용은 우리나라에서 전해 내려오는 고유문화와 한자를 매개로 한 여러 국가들과의 공통되거나 차이가 있는 문화를 내용으로 한다. 한문과에서 텍스트로 삼는 대부분의 내용이 전통문화와 관련이 있다. 따라서 ‘한문과 문화’라는 영역이 독립적으로 설정되어 있지만, 실제 수업 현장에서는 ‘한문의 독해’와 ‘한문과 문화’의 성취 기준이 함께 달성되고 있다. 한자문화권에 대한 교수·학습은 같은 문화 지역의 구성원으로서 서로를 이해하고 함께 살아가기 위한 기초 지식 확보를 목표로 하여야 한다. 2015 개정 교육과정에서 제시한 교수·학습 방법은 ‘전통 문화의 계승과 발전’과 관련하여 토의·토론을 통한전통문화 이해하기, 전통문화 그림으로 표현하기, 문화유산 답사하기가 제시되었고,‘한자문화권의 상호 이해와 교류’와 관련하여 토의·토론을 통한 한자문화권 이해하기, 한자문화권 언어·문화사전 만들기, 한자문화권의 상호 교류 사례 찾아보기가 제시되었다. ‘토의·토론을 통한 전통문화 이해하기’는 ‘토의·토론을 위한 주제 제시→ 주제 설명 및 사전 자료 수집 방법 제시→모둠 구성→모둠별 토의·토론을 위한 사전 자료 수집→ 모둠별 토의·토론 및 내용 정리→ 모둠별 발표 및 의견 교환’의 방법으로 수업을 진행할 수 있다. ‘전통문화 그림으로 표현하기’는 ‘전통문화 관련 내용학습→ 그림으로 표현하기→ 전시 및 발표’의 방법으로 수업을 진행할 수 있다. ‘문화유산 답사하기’는 ‘지역 문화유산 조사→ 답사 계획서 작성→ 답사 자료 수집→ 답사실시→답사 보고서 작성 및 발표’의 방법으로 수업을 진행할 수 있다. ‘토의·토론을통한 한자문화권 이해하기’는 ‘토의·토론을 위한 주제 제시→주제 설명 및 사전 자료수집 방법 제시→ 모둠 구성→ 모둠별 토의·토론을 위한 사전 자료 수집→모둠별토의·토론 및 내용 정리→ 모둠별 발표 및 의견 교환’의 방법으로 수업을 진행할 수있다. ‘한자문화권 언어·문화사전 만들기’는 ‘한자문화권의 개념 파악→ 한자문화권의 언어·문화 조사→ 언어·문화의 공통점과 차이점 정리→언어·문화사전 만들기’의 방법으로 수업을 진행할 수 있다. ‘한자문화권의 상호 교류 사례 찾아보기’는 ‘한자문화권 국가 파악→ 교류 사례 찾기→발표’의 방법으로 수업을 진행할 수 있다.‘한문과 문화’ 영역의 교수·학습은 한문 텍스트를 기반으로 함으로써 타 교과와 차별성을 확보해야 한다. 한문교육용 기초 한자 범위 내에서 문화 관련 텍스트를 찾아 교과서에 싣는다면 한문과 문화 영역 교수·학습을 효과적으로 진행할 수 있을 것이다 The achievement standards for the area ``Hanmun and Culture`` in the 2015 revised curriculum are ``properly understanding our traditional culture included in Hanmun records and shaping an attitude that tries to take the culture as driving force of creation of new, future-oriented cultures``, ``shaping an attitude that tries to promote a mutual under- standing and exchanges through a basic knowledge of the culture of the Chinese character cultural sphere``. Teaching and learning methods for the area should be specific ones for meeting these achievement standards. As for the statements for the teaching and learning methods for the 2015 revised curriculum, activities that are more specific and more useful in school practices compared to previous curriculums were presented. In addition, they deal with teaching and learning methods, things to remember, and even expected effects through ‘② Things to Remember``. The teaching- learning content for the area is supposed to include cultures that several other nations also have or that are different from those of the nations, the nations and Republic of Korea being connected through Republic of Korea``s native culture that has come down to us and through Chinese characters. Most of the content used in the texts for the subject ``Classical Chinese`` is related to the traditional culture. Therefore although the area is set as a separate one, in school classes achievement standards for both ``Hanmun’s Reading`` and ``Hanmun and Culture`` are met. Teaching and learning the Chinese character cultural sphere should aim to secure a basic knowledge needed for understanding each other and for living together as members of the same cultural area. Teaching and learning methods presented in the 2015 revised curriculum were understanding the traditional culture through a discussion and debate, depicting the traditional culture in the form of drawing, exploring the cultural heritage in terms of ``inheriting and developing the traditional culture``; under-standing the Chinese character cultural sphere through a discussion and debate, writing a linguistic dictionary and a cultural dictionary of the Chinese character cultural sphere, looking for examples of mutual exchanges in the Chinese character cultural sphere in terms of ``mutual understanding and exchanges in the Chinese character cultural sphere``. The classes for ``understanding the traditional culture through a discussion and debate`` can be conducted through this method : ``presenting a topic for the discussion and debate → presenting methods of describing the topic and collecting the preliminary materials → grouping → collecting preliminary materials for the group-based discussion and debate → having the group-based discussion and debate and organizing the content → each group``s presentation and opinion exchanges``. The classes for ``depicting the traditional culture in the form of drawing`` can be conducted through this method : ``learning the content related to the traditional culture → depicting the content in the form of drawing → exhibiting the works and giving presentations``. The classes for ``exploring the cultural heritage`` can be conducted through this method : ``investigating the regional cultural heritage → writing an exploration plan → collecting materials for the exploration → exploring → writing an exploration report and giving a presentation``. The classes for ``understanding the Chinese character cultural sphere through a discussion and debate`` can be conducted through this method : ``presenting a topic for the discussion and debate → presenting methods of describing the topic and collecting the preliminary materials → grouping → collecting preliminary materials for the group-based discussion and debate → having the group-based discussion and debate and organizing the content → each group``s presentation and opinion exchanges``. The classes for ``writing a linguistic dictionary and a cultural dictionary of the Chinese character cultural sphere`` can be conducted through this method : ``looking for the definition of the Chinese character cultural sphere → investigating the languages and cultures of the cultural sphere → summarizing the linguistic and cultural commonalities and differences → writing a linguistic dictionary and a cultural dictionary``. The classes for ``looking for examples of mutual exchanges in the Chinese character cultural sphere`` can be conducted through this method : ``looking for information about the nations in the cultural sphere → looking for examples of exchanges → presentations``. Teaching and learning for the area should be differentiated from other subjects through teaching and learning based on classical Chinese texts. Finding culture related texts that only contain the basic Chinese characters for Chinese classics education and including the texts in the textbook will be able to help effective teaching and learning for the area.

중국 아동문화콘텐츠에 재현된 전통문화

宋蓮玉(Song, Yun-Ok) 한국중국소설학회 2020 中國小說論叢 Vol.60 No.-

현재 세계 최대의 아동도서 시장인 중국에서 가장 괄목할만한 성장을 보이고 있는 분야는 그림책이며, 그중에서도 전통문화 그림책은 글로컬리즘의 실천방식으로 가장 각광받으며 다양한 문화콘텐츠로도 변용되는 특징을 보인다. 본 연구는 중국 전통문화 그림책이 어떠한 방식으로 자기 정체성을 규정하며, 그 고유성을 구조화하고 있는지, 그것이 아동에게 어떻게 설득되며 어떠한 콘텐츠로 소비되고 있는지 고찰하고자 하였다. 전통문화의 특성을 재현성, 현재성, 소비성이라고 개념화하여, 이 세 가지 측면에서 전통문화 그림책의 분석을 시도하였다. 먼저 그림책의 텍스트와 파라텍스트를 통해 그림책에서 재현되고 있는 전통문화가 무엇을 말하고 있는지, 무엇을 전통문화라고 보여주는지를 고찰하였다. 다음으로, 전통문화 그림책 주인공의 욕망과 행동결과를 통해 전통의 이데올로기의 현재성을 밝히고자 하였다. 마지막으로, 그림책의 기대독자를 통해 전통의 소비성에 주목하였다. 연구 결과로 첫째, 중국 전통문화 그림책의 서술자는 대부분 3인칭 성인 서술자였으며, 계몽적인 태도를 견지하고 있었다. 그림 서술자는 전통예술 형식을 차용하여 전통을 보여주고자 하였다. 다양한 전통예술 형식을 활용한 파라텍스트는 긍정적이었다. 그러나 그림책에는 순종을 전제로 한 훈계, 혹은 검증된 지식을 전달하는데 유리한 수직적 서열이 존재했다. 둘째, 주인공의 욕망과 갈등을 고찰하여 전통이 누구의 욕망을 대변하고 있는가, 지금 왜 전통이 필요한가를 통해 전통의 현재성을 고찰하였다. 그림책은 전통적인 윤리관과 처세를 강조하고, 가부장적 질서를 옹호했으며, 한족 중심의 농경문화를 민족의 정체성으로 삼았다. 문화유산 경쟁에서 24절기를 선점하려는 국가적 욕망도 있었다. 셋째, 기대독자와 문화콘텐츠 변용양상을 통해 전통의 소비성을 고찰한 결과 “게임⋅만들기+그림책” 형식의 명절선물 세트, 모래그림 쇼, 입체 북, 오디오 북, 유치원의 미니수업(微課), 초등 교과과정, 박물관의 문화강좌, 체험활동으로 변용되어 소비되고 있었다. 중국의 전통 이데올로기는 성인 중심의 계몽의도, 도시인을 위한 문화 마케팅, 톱다운 방식의 중국 문화정책을 의도하며, 다양하고 재미있는 아동문화 콘텐츠로 변용되어 소비되면서 아동에게 내재화되고 있다. This study examined the aspects of traditional Chinese ideologies being reproduced in picture books. The reason is that the most remarkable growth area in China, the world’s largest children’s book market, is picture books, and among them, traditional culture picture books are in the spotlight as a practice of glocalism, and are being transformed into various cultural contents. The research results are as follows. First, this study examined the nature of the text narrator, the relationship between the text and the picture, and the reproducibility of tradition through paratext. The narrators of the traditional Chinese culture picture books are mostly third-person adult narrators holding to an enlightening attitude. The pictorial narrators wanted to show tradition by borrowing traditional art forms. Paratexts use various traditional art forms very well. However, in the picture books, there are discipline for obedience or vertical hierarchy in favor of delivering proven knowledge. Second, the nowness of tradition was examined through the questions of whose desire the tradition represents and why the tradition is needed now. The picture books emphasize traditional ethics and the trend, defend patriarchal order, and make the Han Chineses’ agrarian culture Chinese identity. There is also an attempt to preempt the 24 seasonal divisions in the cultural heritage competition. Third, the consumption of tradition was examined through expected readers and cultural content transformations. There are various forms of cultural transformation: sand painting show, three-dimensional book, audio book, kindergarten mini class, elementary school curriculum, museum cultural lectures, hands-on activities, and holiday gift sets consisting of game, making kits and picture books. Chinese traditional ideologies in picture books are shown in the aspects of the enlightenment in the viewpoint of adults, cultural marketing for urbanites and top-down Chinese cultural policies, and are consumed in the various forms of interesting children’s cultural content.

중국 여성의 전통 결혼 예복 선호도 및 구매행동 분석

刘 翔,서추연 한복문화학회 2020 韓服文化 Vol.23 No.2

Although Chinese traditional wedding dresses have received more attention compared to the past, the Chinese traditional wedding dress market is a bit chaotic, and the standard in design and manufacturing is irregular. During the Zhou Dynasty, the Shang Dynasty wedding dress was adopted and improved to form the "GuanFu" system in ancient China, which is the foundation for the ancient Chinese wedding dress system. The Han Dynasty women's wedding dress system has followed the Shangyi Xiachang and ShenYi system, but the wedding dress in the Han Dynasty has loose sleeves and tight cuffs. Women's wedding dresses in the Tang Dynasty were delicate designs in various colors. The clothing styles in the Qing Dynasty is a combination of styles from Manju Chinese and Han Chinese. During the Republic of China, a wedding dress is combined with Chinese and Western styles. Modern Chinese wedding dresses are mainly classified into Hanfu style wedding dresses, dragon and phoenix gown styles, Xiuhe clothes, and Qipao style wedding dresses, etc. This study surveyed 505 Chinese adult women about their traditional wedding dress awareness, preferences, and purchases. Data were analyzed by t-test using the SPSS program. The results showed that the wedding dresses of the Tang Dynasty are the most representative and most popular. The design of the collar reflects the style of the dress. Professional wedding dress shops were the most willing to purchase a traditional wedding dress store. Traditional Chinese wedding dress constitutes cultural values. Thus the majority of respondents choose traditional wedding dresses to increase the festive atmosphere of the wedding; in terms of design preference, most young people prefer to have quality artistry, red color, and A-shaped silhouette. In conclusion, favorite traditional wedding dress styles are drawn, and design standards are proposed. This research provides reference materials for the design and research of modern Chinese-style women's wedding dresses. 중국 전통 결혼 예복은 최근 몇 년 사이에 점점 더 많은 주목을 받고 있지만, 중국 전통 결혼 예복 시장은 무분별한 업체의 증가로 혼잡하고 제조 수준은 천차만별이다. 중식 결혼 예복은 상(商)나라의 복식제도를 답습하거나 개선된 예복 스타일로 는 주나라를 거쳐 완비되어 중국 고대의 ‘관복(冠服)' 제도를 형성하였으며, 중국 고대 결혼 예복 제도의 기초를 다졌다. 한나라 여성의 예복은 여전히 상의하상 형태의 심의였으나 소매가 매우 크고 손목 부리는 타이트하였고, 당나라의 예복 디자인은 더욱 섬세해지고 색상도 풍부해 졌다. 그리고 청대에는 만주족 문화와 한족의 영향을 받아 결합된 복식 양식이 선보였고 중화인민공화국에 들어와서는 중국식과 서양식이 결합된 형태도 나타났다. 현대 중국의 결혼 예복은 주로 한복(漢服)에서 분류된 것으로 용봉저고리, 수화복, 치파오 스타일 등 다양하게 발전하고 있다. 본 연구에서는 505명의 중국 성인여성을 대상으로 전통 결혼 예복에 대한 인지도, 선호도 및 구매행동에 대해 설문조사를 실하였고 SPSS프로그램을 기술통계분석 및 T-test분석을 실시하였다. 결혼예식 및 전통 예복 시대별의 선호도 조사 결과를 살펴보면, ‘가장 선호하는 전통 예복’과 ‘대표적인 전통 복식’ 항목에서는 모두 당대 복식을 가장 선호하였고, 전통 결혼 예복에서 가장 중요시하는 디테일 디자인 부분은 깃 디자인으로 나타났다. 또한 전통 결혼 예복의 구매 행동에 관한 조사분석 결과에 따르면 대부분 예복전문 매장에서 맞춤을 선호하였으며 대부분의 응답자는 결혼식의 축제 분위기를 높이기 위해 전통 결혼 예복을 선택한다고 하여 전통 결혼 예복은 중국 전통 의상 문화의 상징적 의미와 관련이 있음을 알 수 있었다. 전통 결혼 예복 디자인의 선호도 분석결과, 젊은층 에서는 보다 전문적인 디자인과 빨강색 그리고 A형 실루엣을 선호하고 있는 것으로 나타났다. 마지막으로 이상의 결과를 종합하여 사람들이 선호는 전통 결혼 예복 도식화를 제시하여 전통 결혼 예복의 디자인을 위한 기초 자료를 제안하였으며, 또한 현대 중국식 여성 웨딩 드레스의 디자인과 연구를 위한 참고자료가 될 것으로 기대된다.

중국 전통 희곡의 존속에 대하여

김형란 중국인문학회 2023 中國人文科學 Vol.- No.85

Recently, traditional plays that show a combination pattern with online games and exist in a new field and a new way are breaking away from the way of scriptural plays. How should we recognize the crossover game and traditional crossover trend, which is sometimes considered a provocation against the “dignity of tradition”? Through this paper, I specifically tried to review how classical and modern, drama and game elements were fused, and to explore their achievements, problems, and future directions in terms of the modern succession of traditional plays. In this paper, the main research target is the 『Honor of Kings(王者荣耀)』 released game in 2015, which has recently been very popular among the game fields enjoyed by the younger generation in China. Game is a new play culture popular in modern digital society, and it seems to have nothing to do with ‘tradition’. Nevertheless, most of the hero characters in the 『Honor of Kings(王者荣耀)』 game are related to Chinese historical legends, myths or literature, and traditional Chinese culture and values are often projected on them. I believes that the combination of the hero shape character in the game and traditional Chinese characters is the most important cause of the popularity of 『Honor of Kings(王者荣耀)』, and especially focused on the connection with the play characters. Currently, 『Honor of Kings(王者荣耀)』 has officially uploaded the appearance of the hero's skin in conjunction with four plays: Beijing Opera(京劇), Kunqu Opera(崑曲), Sichuan opera(川劇), and Yue opera(越劇). First, as a combination of Peking opera(京劇) and game, it is the skin of Xiangyu(項羽) and Yuji(虞姬) in Peking opera 『Farewell My Concubine(霸王別嬉)』. Second, in the Kunqu Opera(崑曲) 『Jingmeng(惊梦)』, the figure of Duliniang(杜丽娘), which crosses life and death due to love, was transformed into one of the skin sculptures of the beautiful hero Zhenji(甄姬). Although it is not a traditional character, the Mengqi(梦奇), original hero character, in 『Honor of Kings(王者荣耀)』 was also given the skin appearance of Pangdarongrong(胖达荣荣) made by linking Sichuan opera(川劇) plays among traditional Local opera(地方戲). Finally, it is the shape of the game hero Nuxiaosheng(女小生) of Shangguanwaner(上官婉儿), which was introduced with traditional Yue opera(越劇) elements. Looking at these four aspects of game character formation related to Chinese plays, it can be seen that the original symbols and themes of the play characters are maintained as much as possible and the traditional play characteristics are never missed. Now that games have become a major play culture of the new generation, traditional Chinese plays are standing in front of the audience in a lively form of play, breaking away from the history of scripture and art. This shows confidence in traditional Chinese culture and at the same time gives a glimpse of the possibility of various methods and paths of traditional culture succession. Based on the review of this paper, its achievements and meanings were summarized in the following several ways. First, it was confirmed that traditional culture can give special vitality and competitiveness to games, which are modern plays. Second, it was found that online games equipped with traditions are a good platform for promoting history and traditional culture and a new channel for the spread of traditional culture. Finally, while seeking a sense of balance between art and the market, it is necessary to avoid the conservative view that traditional culture hesitates to compromise with the market of modern society. As mentioned above, it was confirmed that the convergence development of traditional culture and Internet games is a new method and opportunity for symbiosis and prosperity. 최근 온라인 게임과의 결합양상을 보이며 새로운 분야, 새로운 방식으로 존재하는 전통 희곡은 경전적 희곡의 존재 방식을 탈피하고 있다. 경계를 넘나드는 게임과 전통의 크로스오버 현상을 어떻게 인식해야 하는가. 본고에서는 최근 중국의 젊은 세대가 즐겨하는 게임 분야 중 크게 인기를 끌고 있는 게임 『王者荣耀』를 주 연구대상으로 삼아, 어떻게 고전과 현대, 희곡요소와 게임요소가 융합되었는지 살피고, 전통희곡의 현대적 계승에 있어 그 성과와 문제점, 그리고 앞으로 나아갈 바 등을 탐색해보고자 하였다. 본고는 게임 속 캐릭터 영웅 형상과 중국의 전통 인물의 결합이 『王者荣耀』 인기의 가장 중요한 원인이라고 보고, 그 중에서도 특히 희곡인물과의 연관성에 집중하여 살펴보았다.『王者荣耀』에는 현재 공식적으로 4가지 희곡 즉 京劇, 川劇, 昆劇, 越劇과 연동시켜 영웅의 스킨 외형을 업로드 하였다. 첫째, 京劇과 게임의 결합으로, 京劇 『霸王別嬉』의 項羽와 虞姬의 스킨이고. 두 번째로는 昆劇 『惊梦』에서 사랑 때문에 삶과 죽음을 넘나드는 杜丽娘이라는 인물형상을 영웅 甄姬의 스킨 조형 중 하나로 변모시켰다. 또 전통인물은 아니지만 『王者荣耀』중 오리지널 영웅캐릭터인 梦奇도 중국의 전통적인 지방희 중 川劇을 연동해 만든 胖达荣荣 스킨, 마지막으로 전통 越劇 요소를 장착시켜 선보인 게임 영웅 上官婉儿의 ‘女小生’ 형상이다. 이 네 가지 중국희곡 관련 게임 캐릭터 조형 양상을 살펴 보면, 희곡인물 원래의 상징과 주제를 최대한 유지하고 전통적인 희곡 특징을 드러내고 있음을 확인할 수 있다.

“大話” 現象과 後現代 談論 硏究

양태은 한국중국현대문학학회 2008 中國現代文學 Vol.0 No.44

This study aims at examining Underlying logic of contemporary Chinese, by investigating the symbolic system inherent in the two different discourse patterns that comprise the phenomenon of the “A Chinese Odyssey(大話西游)” in the late 1990s. What I mean by the two different discourse patterns is the film series A Chinese Odyssey itself, which is at the center of the “Dahua(大話)” phenomenon, and the public and critical discourse on this film series. If public and critical discourse provides us with a model through which we can observe the consciousness of contemporary Chinese, the cinematic text itself can also be a model that reflects the consciousness of the contemporary Chinese, since the Chinese themselves are the actual creators of this cinematic text. In order to reveal the Underlying logic of contemporary Chinese, the narrative strategy of this study is to take a deconstructive approach towards the consciousness by focusing on something that the Chinese themselves consider as “postmodern.” In order to do this, the second section of this paper demonstrates that in contrast to the Chinese postmodernists’ argument, A Chinese Odyssey actually borrows a traditional symbolic system and uses it as its foundation. The construction of this foundation in A Chinese Odysseyis based on the traditional style of tragic drama and the principle of the mutual betterment of truth and falsehood; and the reason why many contemporary Chinese are moved by this film series is precisely because they naturally inherit the traditional cultural logics. The third section of this paper shows that the logic of tradition-modern-postmodern that is inherent in the postmodern discourse surrounding the “Dahua” phenomenon is in fact a distorted expression of the modernist ideology. In particular, this paper points out that the reason the concept of the “anti-tradition” is an expression of modernism is the desire for the “up-to-date” and the “cutting-edge.” In conclusion, by examining the Underlying logic inherent in the two different discourse patterns, this study shows the coexistence of the unconscious traditional mode of thinking and the intentional modernist logic among the contemporary Chinese who participate in the discourse.

우관중(吳冠中)의 수묵 추상화에 관한 연구 - ‘중서융합(中西融合)’ 회화관을 중심으로

이희정 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.35 No.-

Wu Guanzhong(吳冠中, 2010) is one of the most significant and influential Chinese artists who made a major contribution to the modernization of Chinese ink painting. His art work has received huge attention not only from China but also from the West. Wu published a number of articles on his thoughts on art and applied them in his painting. This paper focuses on his artistic perspective of integrating European modernism with traditional Chinese ink painting and explores the way in which such a vision was established and embodied in his art. While being educated at the National Academy of Art in Hangzhou from 1936 to 1942, Wu encountered the idea of synthesis of Eastern and Western artistic traditions that was promoted by the prominent Chinese painter and educator Lin Fengmian(1900-1991). This was followed by the three major events that played an important role in Wu’s individual artistic pursuit as well as the evolution of his ideas and art: first, the period he spent studying in France (1947-1950); second, the Cultural Revolution(1966-1976); and third, the Open-Door Policy of Deng Xiaoping(1904-1997). During his three years as a student at the École National Supérieure des Beaux-Arts in Paris, Wu learnt Western painting traditions and methodologies, especially Western formalism, and established his artistic ideas on the synthesis of Chinese and Western painting. Despite the adversity of the Cultural Revolution, Wu did not yield to it and preserved his artistic thoughts and ideas. It was not until after Deng Xiaoping’s Open-Door Policy that was declared in 1979 that Wu’s artistic vision was able to be reflected in earnest in his art works. This paper examines how Wu applied his approach to integrating European modernism with traditional Chinese ink painting in his art works by focusing on the following three themes: harmonizing tradition with modernity, exploring new subjects, and experimenting with abstract ink painting. Wu sought to harmonize tradition with modernity by applying Western ‘formal beauty(形式美)’ to the depiction of Chinese traditional subjects. He emphasized the built environment - ‘architecture’ - as a new subject in Chinese ink painting. In addition, through his experimentation with abstract ink painting, he represented his emotions and concepts, pushing the boundary of Chinese ink painting to a new level. Wu has contributed to the exploration of a new innovative territory within the Chinese ink and brush tradition. He offered later generations of Chinese painters the extended possibilities of ink painting techniques by applying Western ‘abstraction’ to the Chinese ink painting tradition. The experimental spirit and constant efforts of Chinese painters such as Wu Guanzhong have enabled Chinese contemporary ink painting to reach new heights and draw attention on today’s international art scene.