미술관 경영과 수장품 정책

최종호(Choe Jong Ho) 한국예술경영학회 2003 예술경영연구 Vol.4 No.-

This is a study on the art museum management and collections policies, which should be executed on the economic principle and in the perspective of a non-profit making permanent institution. An art museum is a cultural and artistic complex for not only the laymen but also the professional in order to relish, study and enjoy essence of arts, information of artists, appreciation of art performances, achievement of aesthetics and art history, etc. Common people, critics, artists, lovers and manias of art museums hope generally to get experimental exhibitions, educational programmes, knowledge and experience in relation with their life. This trend is becoming more focused by the will of the art museum itself to cover the specialized fields of the arts and art museum activities. More effective art museum management is also made by the systematic collections management. Art museums in the future should be subsisted on their account. They should be established and managed in ways to meet the desires of the users and to get funds from the voluntary supporters or devotees of arts. For purpose of self-support management of art museums, they should be managed with the aim to serve for users and they also should be located in easy accessible places. The location of art museum is very important more than its collections in the aspect of accessibility as well as absorptivity. Art museums should be within accessible distance from the visitors or users, who are divided into segments according to the academic level, age, sex, occupation, expectation and so on. Art museums should develop re-visits of the users by constantly developing new items to relish, study and or enjoy. When they find the same as before, their revisits will be reduced, and the efficiency of management is fallen. It is necessary to research and develop new menus on art museum activities and to provide a new serial repertories on the variety of art presentations with users. Supposed previous art museums were focused on originals and manager-oriented institution, they in the future should be developed on artistic resources and user-oriented complex experiencing arts and art performances. The resources of art museums may be largely categorized into tangible art objects and intangible art performances, or into material data and non-material information. The collections policies articulate the art museum activities in its collections care, demonstrating that art museums are behaving legally and responsibly towards its collections. They should be explained why an art museum is in operation and how it goes about its business, and it articulates the art museum’s professional standards regarding art objects left in its care. The collections policies based on the mission of an art museum should be at least covered with the purpose of the its collection goals, with the method of acquiring artistic resources for the collections and with method of de-accessioning and disposing art objects from the collections. Beside, for the best and specialized collections of an art museum, the policies of the art museum should be executed in a specialized category of or a subject of artistic resources related to art objects and art performances. In conclusion, an art museum management should be necessarily based on the economic principle included the maximum efficiency and common benefit of management. And collections policies should be also based on characteristics of collections and on the economic principles for better getting originality in artistic resources related to art objects and art performances.

연극기록물의 수집방안 연구

정은진 한국기록학회 2011 기록학연구 Vol.0 No.29

This study is intended to recommend for acquisition methods of the theatre collection. Theatre activities is representative of the performing arts, and the Korea theatre history start from the modern history of Korea. In the meantime, theatre collections has already been lost by a lack of effort and management, and scattered most of the collections. In particular, a one-off nature and volatility of theatrical performances make future generations to enjoy the performances and to study should consult the relevant records. Therefore, collecting records can be very serious mission. In this study, theatre collections of the country which aims to collect and analyze the characteristics and type of theatre collections. Based on this information, collection scope, targets, priorities, acquisition level, method of collecting are proposed the following. First, collection scope is defined for the theatre related collections which was performed nationwide in the 1900s, the times that modern theatre was begun. The object includes related information of planning, administration, drama (script), directing, stage design, public relations, production, evaluation, personal records, biographical data, group data and space data. Second, the theatre collections are divided into records and historical records. Priority of collections object is determined by the historical value and the theatre performed by the support of public organization. Third, the acquisition level is divided into archived, mirrored, web linked and database, which is proposed by the determined levels of mandatory, recommend and discretion according to the characteristic of performance. Fourth, acquisition methods are suggested by the general acquisition methods of transfer, donation and purchase as well as the methods of copy, production, legal deposit, entry and web link etc. The acquisition of theatre collections is executed on digital-based environment, and a centralized authority control should be establishmented. And through the development of network with theatre’s stakeholders and the cooperation of related organizations, theatre collections acquisition is feasible. 연극은 공연예술을 대표하는 분야로 우리나라의 근대의 시작과 역사를 함께하고 있다. 그러나 그 동안 연극기록물을 관리하고자 했던 노력이 부족해 이미 유실되고 흩어져버린 기록물이 대부분이다. 특히 연극이라는 공연예술의 특성에 따라 작품 자체는 일회로 공연되고 사라져버리는 것이므로, 후대가 공연을 향유하고 연구하기 위해서는 관련 기록을 통해 흔적을 찾아볼 수밖에 없는 현실에서 연극 기록물을 수집하는 것은 매우 중대한 과제라 할 수 있다. 이에 본 연구에서는 당대에 행해지는 연극행위에 따른 기록물을 수집하는 것을 목적으로 기록물의 종류와 특성을 분석하고, 이 분석한 내용을 기반으로 수집범위, 대상, 우선순위, 수집 수준, 수집 방법을 제안하였다. 수집의 범위는 우리나라의 근대극이 시작된 1900년대 이후에 전국적으로 행해진 연극 관련 기록물로, 기획행정·희곡(대본)·연출·무대디자인·홍보·공연·평가·개인 기록물 외에 개인정보와 단체정보, 공간정보의 관련정보 기록물을 그 대상에 포함한다. 기록물은 일반기록물과 역사기록물로 구분하여 역사적 가치가 있고 공공기관의 지원에 의해 공연된 연극을 우선적인 수집 대상으로 정한다. 다양한 기록물의 수집 수준을 결정하기 위해 ‘원본수집’, ‘사본수집’, ‘웹 링크’, ‘데이터베이스’로 구분하고 공연의 성격에 따라 ‘필수’, ‘권장’, 재량‘의 정도를 정해 수준을 제안하고 이관, 기증, 기탁, 구입의 일반적인 수집 방법과 복사, 제작, 납본, 입력, 웹 링크 연결 등의 방법으로 기록물을 수집할 수 있다. 이러한 수집 방안의 실행을 위해서는 수집의 수행과 기록물의 활용은 디지털 기반 환경에서 통합적으로 이루어져야 하고, 통합 관리를 위한 중앙 집중형 기관 설립을 전제로 해야 하며, 연극의 이해관계자와 유관기관 간의 협력을 필요로 할 것이다.

동아시아 문화교류와 통신사 필담창화집 ; 후쿠오카번(福岡藩)과 통신사(通信使)

다카하시마사히코 ( Takahashi Masahiko ) 연세대학교 국학연구원 2011 동방학지 Vol.153 No.-

후쿠오카번(福岡藩)은 1636년의 제4차부터 1764년의 제11차까지 통신사를 8회 맞이하였는데, 그때마다 아이노시마(藍島)에 객관을 지어 정중히 응대하였다. 항상 통교(通交)가 있었던 쓰시마번(對馬藩)을 제외하면 이키에서의 접대를 담당했던 히라도번과 함께 일본에서 가장 모범적으로 응대하여, 다른 번에 큰 영향을 미쳤다. 후쿠오카번의 몇 가지 사례를 통해 필담창수의 상황을 살펴보면, 필담창수집의 편집이 자주 미뤄졌을 가능성이 드러난다. 내가 조사한 창화집의 작품 수를 간행본과 사본으로 나누고 그것을 다시 별집(別集: 일본인이 주로 개인적으로 응수하고 있는 내용)과 총집(總集: 일본인이 복수로 응수하고 있는 내용)으로 나누어 보면, 회를 거듭할 때마다 그 필담창수집의 숫자가 늘어났다. 제12차는 쓰시마라는 하나의 나라에서만 응대했기 때문에, 분카(文化) 연간의 필담집이 줄어든 것은 당연하다. 총집의 출판 횟수가 많았던 것은 출판업자가 계획하여 펴낸 것이기 때문이다. 많은 인물이 게재되었다면 꽤 많은 책자라도 팔릴 수 있으리라고 예상했을 것이다. 이에 반해 별집은 개인이 그에 상응하는 출판 비용을 부담하지 않으면 출판하기가 어려웠다. 기념으로 남겨둔 사람이나 지인에게 배포하려는 사람, 스스로 이름을 알리려고 생각한 사람 정도가 별집을 자비 출판했을 것이다. 같은 창화집이라도 간행본과 사본의 형태에 따라 출판 이유가 달라진다. 간행본에 실리지 않은 것과 실릴 수 없었던 것의 의미 차이도 있다. 후쿠오카번에 있어서 쿠시다(櫛田)나 카메이(龜井)는 어째서 간행본에 실리지 않았을까 하는 의문점이 바로 그것이다. 시의 창화가 중심인 책과 필담이 중심을 이루는 책의 차이는 무엇인가. 앞서 나온 어촉서(御觸書)에 따르면 린케(林家)의 서적은 시 창화가 중심이 아닐 수 없다. 히코네(彦根)번처럼 번사(藩士)의 창화를 금지했던 번도 있었다. 막부나 번에 종사하고 있던 학자와 재야의 학자와의 차이는 어디에 있을까라는 시점을 가져볼 필요도 있다. 앞으로는 전체를 파악하고 간행본과 사본 등의 의도를 비교해 나가는 시점이 필요하다는 문제를 제기한다. The Fukuoka clan received Chosen missions to Japan 8 times between 1636 and 1764 and greeted them courteously each time by establishing a visitors` house on Inosima Island. Excluding the Tsusima clan, with whom they could always trade, the best relationship was exemplified with the Hirado clan that was in charge of the reception in Iiki. Fukuoka clan along with the Hirado clan also greatly influenced other clans. The possible delay in the editing of collections of exchanged correspondences and poetry may be observed through a couple examples in the Fukuoka clan. My survey focused on the number of collections of exchanged poems by dividing them into published and copied collections. The collections of exchanged poems were also divided according to individual collections of poems (where Japanese people mainly responded individually) and several people`s collections of poems (where Japanese people mainly responded jointly). This showed that the number of these collections increased as they were repeated one after another. It is natural that the number of collections of written correspondences made by continuing Boonka publication decreased, as the 12th collection was received only by one county, Tsushima. The reason that the number of jointly shared published collections was large is that the publisher published the collections with planning. I was expected that quite a lot of collections could be sold when many people were included. Contrary to this, the publication of the individual collections was difficult as the individual had to bear the publication expenses alone. Only those wanting to reserve the work as a commemoration, those who would distribute this collection to his acquaintances, and those who would try to make his name known to the public likely published the collection with his own expenses. The reason for publishing changed according to the published and copied collections, even if they were the same collections of exchanged poems. There is also a difference of meaning between the poems not included in the published collections and the ones that could not be included. It is right to inquire why Kushia or Kami in the Fukuoka clan were not included in the published collections. What is the difference between the collections centering on the exchanged poems and the collections centering on written correspondences? According to the previous Afurekaki (the official documents published by the Shogunate or feudal lord to the general publics), the Lin ke books were the ones centering on the exchanged poems. There was also a clan that prohibited the Hansi (samurai employed in the clan) from exchanging poems, as happened in the Hikone clan. It is necessary to clarify the difference in the viewpoints between the scholars engaged in the Shogunate or clan and the non-official scholars. I would like to emphasize that we must understand the significance of these collections as a whole before being able to compare the intention of these published and copied collections.

근대 미국의 한국도자 수집경향의 지역적 차이와 그 의의

하에이미 한국미술사교육학회 2022 美術史學 Vol.- No.44

American collectors began to acquire Korean ceramics in earnest from the late nineteenth century and continued to form collections through a variety of means and for numerous purposes up until the mid-twentieth century. This study examines Korean ceramics collections assembled in America from a geopolitical perspective, focusing on regional disparities and the source as well as significance of said differences from 1870 to 1950. Collectors in the Northeast region of the United States (in addition to the cities of Chicago, Cleveland, and Washington D.C.) were the first to collect Korean ceramics after an official treaty was negotiated between Korea and the U.S. in 1882. The collectors were from diverse backgrounds and included businessmen, missionaries, museum agents, scientists, and scholars. The social, educational, and professional circumstances of each collector determined his or her specific approach to obtaining Korean ceramics, which then influenced the composition of the collections. Based on the types of wares amassed, collections can be classified into three different groups though all Korean ceramics in the ‘Eastern’ region of America were attained for academic purposes. The relationship of exchange and influence between the ceramic industries of Korea, China, and Japan was a particularly popular subject in Western scholarship, eventually leading to an overwhelming interest in and fervor for Goryeo celadon which soon became the center of Korean ceramics collections across the United States. Goryeo celadon was also the main draw for collectors in the Pacific region which consists of Washington, Oregon, California, and Hawaii. The collectors in ‘West’ America were mostly women, philanthropists who sought to compile collections of Korean ceramics quickly and efficiently to fill the public institutions they had established for their respective communities in the early twentieth century. Without exception, the collectors purchased Goryeo celadon through Japanese art dealers like Yamanaka Sadajirō who had an unofficial monopoly on the East Asian art market of America by the 1910’s. Thus, Japanese dealers played a large role in influencing and shaping the Korean ceramics collections formed in the Pacific region of the United States. However, the most distinctive and common characteristic of America’s Western Korean ceramics collections is apparent in their applications. Founded primarily as a way to educate the public about diverse cultures through art, public museums and their holdings were at the core of multiple educational programs developed for the American public, which included large populations of Korean immigrants. The Korean ceramics collected in first the East, then West regions of America differed in many aspects. Despite the disparities, there was common ground in that a majority of the Korean ceramics in the United States entered the collections of public museums and other institutions by the mid-twentieth century. It is this transition from private to public that laid the foundation for the new capacity that Korean ceramics would fill in subsequent periods. 본고는 1870년부터 1950년대까지 미국의 동·중부와 서·외부 지역에 형성된 한국도자 컬렉션의 차이점에 주목하여, 당시 미국 내의 지정학적 환경이 한국도자 수집에 주요한 영향을 미쳤음을고찰하였다. 동·중부 지역은 한국이 미국과 정식적으로 조약을 맺은 1882년 이후부터 한국도자를 본격적으로 수집하기 시작했다. 수집가의 신분이나 직업은 사업가, 외교관, 선교사, 박물관 조사원, 과학자, 미술학자 등으로 다양했으며, 그들이 처한 상황마다 한국도자의 수집 경로에 차이를 있었음을확인하였다. 수집가의 신분과 소속에 따라서 한국도자 컬렉션의 성격을 세 유형으로 분류하였지만 세 유형의 컬렉션들이 모두 학술적인 용도로 활용되었다는 공통점도 있다. 특히 한·중·일도자 산업과 문화가 어떤 점에서 차별화되고 연관되는가의 문제가 주요한 쟁점이 되었다. 이러한 연구와 전시를 통해 동·중부 지역에는 한국도자를 예술의 대상으로 여기게 되었는데 그 중심에 고려청자가 있었다. 서·외부 지역에서 한국도자 컬렉션은 20세기 이후에 형성되기 시작하였고, 이를 주도한 수집가는 주로 여성이었다. 이들은 한국도자를 빠르고 효율적인 방식으로 구입하려고 했기 때문에 주로 일본 미술상인과 거래했다. 1910년대에 최고의 유물들을 독점하고 있던 일본 미술상인 단체는서·외부 지역의 한국도자의 유통과 새로운 컬렉션 형성에 큰 영향을 주었다. 1910년대에 최고의 유물들을 독점하게 된 일본 미술상인들의 커뮤니티는 서·외부 지역에 이루어진 한국 도자의 유통과 궁극적으로 새로운 컬렉션의 성격에 큰 영향을 주었다. 수집가들은 개인 소장품을 토대로 공공 기관을 설립했고 고려청자 중심의 한국도자 컬렉션은 미국으로 이주한 한국인들을 위한 교육 목적으로 활용되었다. 두 지역에 유입된 한국도자의 성격은 달랐지만, 20세기 중반 이후에 현재의 공공 박물관과 미술관의 소장품으로 남게 되었다는 공통점이 있다. 근대기 미국의 한국도자 컬렉션들은 후대에 이루어질 또 다른 유형의 한국도자와 관련된 사업의 기반이 되었다.

Characteristics of Seed and Plant Growth in Local Collections of Agastache rugosa

Ok, Hyun-Chung,Chae, Young-Am The Korean Society of Crop Science 1998 Korean journal of crop science Vol.43 No.4

Characteristics of seed and plant growth of the nine local collections of the medicinal plant, Agastache rugosa were evaluated. Seed size of the collection from Garyungsan was larger than the others. Seeds of Damyang collection were the smallest in size. Seeds of the collections were mostly oval shaped. There were no differences between brown and black seed coat color groups in seed width, ratio of seed length to seed width and 1,000 seed weight. Stem lengths of Garyungsan and Bongpyung collections were 99.9 and 95.6 cm, respectively, and were longer than Damyang and Jindo collections. Garyungsan collection had long leaf shape. Leaf size was the smallest for Damyang collection, but was the largest for Bongpyung collection. Inflorescence length of Mokpo collection (15.6 cm) was longer than the average over all collections (12.3 cm). Damyang collection was the shortest (10.1 cm) in inflorescence. Top dry weight of each collection from Soonchun, Bongpyung, Mokpo, Jindo, and Gurye was greater than the average over all collections (20.38 g/plant). Jinju and Damyang collections had less top dry matter than others. There was no difference in the growth traits examined between brown and black seed coat groups. The brown seed group was greater in leaf weight than the black seed group. However, these two groups were not different in stem and inflorescence weight. Collections of A. rugosa from Bongpyung, Soonchun, and Mokpo were promising for commercial cultivation because of their great top dry weight, especially in leaf and inflorescence.

A Study on Fashion Collections Colors in Korea, China, and Japan:

( Hyung Min Hong ),( Mi Suk Lee ) 한국패션비즈니스학회 2014 패션 비즈니스 Vol.18 No.6

The purpose of this study is to analyze women apparel``s colors in the Seoul, Beijing, and Tokyo collections and examine the color characteristics of three collections through comparison with trend colors suggested by Carlin, a color forecasting group. A literature review and an empirical study were used for methodology. The literature review examined the status and characteristics of the three collections, a fashion color forecast, and F/W 2014-15 trend colors by Carlin based on previous researches and literature data on fashion color. The empirical study extracted and analyzed 2014-15 F/W women``s ready-to-wear collections in Seoul, Tokyo, and Beijing and compared the result with trend colors by Carlin. First, the colors of women``s apparel were analyzed in the Seoul, Beijing, and Tokyo collections. All three collections commonly used achromatic colors and the percentage of Bk, Gy, Wh, R, and B colors was high. All three collections used achromatic colors frequently for the main color and sub colors. For accent colors, while the application of achromatic colors was high in the Seoul collection, the application of chromatic colors was high in the Tokyo and Beijing collections. Second, women``s apparel colors in the Seoul, Beijing, and Tokyo collections were compared with trend colors suggested by Carlin. All three collections highly reflected Bk, Wh, and R (Carlin``s forecasting color of ``Splendor``) and B (forecasting color of ``Boreal``). However, the reflection of metallic colors suggested as a keyword of ``Brave New World`` and Pk color of ``Sensitive`` and ``Boreal`` were a bit low.

Characteristics of Seed and Plant Growth in Local Collections of Agastache rugosa

Hyun Chung Ok,Young Am Chae 韓國作物學會 1998 Korean journal of crop science Vol.43 No.4

Characteristics of seed and plant growth of the nine local collections of the medicinal plant, Agastache rugosa were evaluated. Seed size of the collection from Garyungsan was larger than the others. Seeds of Damyang collection were the smallest in size. Seeds of the collections were mostly oval shaped. There were no differences between brown and black seed coat color groups in seed width, ratio of seed length to seed width and 1,000 seed weight. Stem lengths of Garyungsan and Bongpyung collections were 99.9 and 95.6 cm, respectively, and were longer than Damyang and Jindo collections. Garyungsan collection had long leaf shape. Leaf size was the smallest for Damyang collection, but was the largest for Bongpyung collection. Inflorescence length of Mokpo collection (15.6 cm) was longer than the average over all collections (12.3 cm). Damyang collection was the shortest (10.1 cm) in inflorescence. Top dry weight of each collection from Soonchun, Bongpyung, Mokpo, Jindo, and Gurye was greater than the average over all collections (20.38 g/plant). Jinju and Damyang collections had less top dry matter than others. There was no difference in the growth traits examined between brown and black seed coat groups. The brown seed group was greater in leaf weight than the black seed group. However, these two groups were not different in stem and inflorescence weight. Collections of A. rugosa from Bongpyung, Soonchun, and Mokpo were promising for commercial cultivation because of their great top dry weight, especially in leaf and inflorescence.

2000년대 전반기 패션 컬렉션에 나타난 메이크업 특성에 관한 연구

이희종(Lee Hee Jong),구자명(Kuh Ja Myung) 한국인체미용예술학회 2006 한국인체미용예술학회지 Vol.7 No.1

  This study examines the trend of make-up with a focus on Paris, Milano, New York, and London Collections abroad and SFAA Collection and Seoul Collection at home from 2000 to 2005, and analytically compares the features found in the collections. For this, fashion-related magazines, books, theses, journals, and websites are utilized and photo materials the author worked on at domestic collections are included.<BR>  First, the trends include naturalism, ethnicism, reactionism, futurism, and deconstructionism, featuring as follows: Naturalism was found in bare nude, radiant, and tanning makeups; ethnicism was found in makeups applied with Chinese Jing Ju (京劇), ones applied with Japanese Geisha or Gabukki, Bollywood"s makeups from India, and primitive makeups from Africa; reactionism was found in black-white makeups in 1920-30s, hippie makeups in 1960s, glam rock makeups in 1970s, and glamor makeups in 1980s; futurism was found in cyber makeups, modern makeups, and surrealism makeups; and deconstructionism was found in humorous makeups and decadence makeups.<BR>  Second, the characteristics of make-up found in the fashion collections are compared as follows: Naturalism from overseas collections expresses mono-tone"s bare nude makeup featuring transparent and healthy image, while that from domestic collections expresses pastel-tone"s radiant makeup featuring romantic image. Ethnicism from overseas collections carries strong and experimental elements by applying mask, while that from domestic collections features simplicity by expressing black, white and red color on parts of the face. Reactionism from overseas featuresexpression to change past images, while that from domestic revives past images. Futurism from overseas expresses makeups with creative and queer design through surrealism, while that from domestic is characterized by achromatic and modern makeup, and such makeup with geometrical patterns. Deconstructionism from overseas expresses unsightly and mean image with the bold use of original colors and symbolic makeups from punk group, while that from domestic shows makeups featuring morbid atmosphere with white or black color.<BR>  On the whole, overseas collections feature boldness, creativeness, experimentalism, and informality, while domestic collections feature simple makeups that are mild without not too being magniloquent.

『송남잡지』를 통해 본 조선 유서의 심미성과 의식성

강민구 ( Kang Min Gu ) 한국사상사학회 2018 韓國思想史學 Vol.0 No.59

본고는 조선의 사찬(私撰) 유서 중 하나인 『송남잡지(松南雜識)』를 통하여 편찬자의 자작시 개입 양상과 의미를 규명해 보았다. 조선의 유서는 문학 공구서로서의 기능적 측면이 강하기 때문에 시화(詩話)의 특성이 상당 정도 혼효되어 있다. 지식의 체계적 집적이라는 엄연한 편찬 목적이 있는 유서에 개입된 자작시에 대한 평가는 조선 유서의 특성 규명을 위해 간과할 수 없는 문제라고 하겠다. 조재삼은 『송남잡지』의 「자서(自序)」에서 이 책을 ‘만물의 기록’으로 규정하였고 이 책으로 두 아들을 가르쳤다고 하였으니, 『송남잡지』는 기본적으로 박물학적 지식욕에 대응하는 학습서로 편찬되었다는 것을 알 수 있다. 그러므로 『송남잡지』는 형식적 요소에 크게 얽매이지 않은 사찬 유서이다. 그러나 조재삼은 기록으로 남길 만한 가치가 있는 지식을 정연히 정리 집적하려는 편찬 의도를 분명히 갖고 있었을 뿐만 아니라 중국과 조선 유서의 형식도 충분히 염두에 두고 있었다. 그러나 기존 유서의 형식에 구속될 이유가 없는 사찬 저작이기 때문에 자유로운 구성이 가능하였다. 『송남잡지』를 포함한 조선의 사찬 유서는 검색 기능을 갖춘 교양 독서물이였다. 따라서 사찬 유서의 편찬자들은 다채로운 내용들로 구성하기 위해 노력하였고 문학적 요소를 다분히 개입시켰다. 또 개인 저작이었기에 자신의 경험을 개입시킬 수 있었는데, 그 중에서도 자작시는 중요한 역할을 한다. 조재삼은 자작시로 독자의 심미적 정서를 활성화하는 동시에 서술의 단조로움을 탈피하였다. 그리고 그것에서 한걸음 더 나아가 인간과 사회에 대한 비판적 의식을 투영함으로써 유서에 생명을 불어넣었다. This paper investigates the intervention aspect and meaning of the author’s own poem through 『Songnamjapji(松南雜識)』 which was one of the Joseon Dynasty Encyclopedic Collections compiled by a private individual. Because Encyclopedic Collections of the Joseon Dynasty has strong functional aspects as a literary reference book, the characteristics of Sihwa(詩話) are highly mixed. The evaluation of the one’s own poem that intervened in the Encyclopedic Collections with a purpose of compiling systematic accumulation of knowledge is an issue that can not be overlooked in order to find out the characteristics of the Joseon Dynasty Encyclopedic Collections. Jo Jae-sam(趙在三) defined this book as “The record of all things” in 「The author’s own preface(自序)」 of 『Songnamjapji(松南雜識)』, and he taught two sons with this book. So, 『Songnamjapji』 was basically compiled as a study material corresponding to an appetite for wide knowledge. Therefore 『Songnamjapji』 is the Encyclopedic Collections compiled by a private individual that does not heavily adhere to formal factors. However, Jo Jae-sam not only had a compilation intention to organize the knowledge that deserves to be recorded, but also kept the form and contents of China and Joseon Encyclopedic Collections in mind. However, it was possible to construct freely because it was the Encyclopedic Collections compiled by a private individual which had no reason to be bound by the existing form of Encyclopedic Collections. 『Songnamjapji』 and other Encyclopedic Collections of Joseon Dynasty was a cultural books with a search function. Thus, he tried to construct various contents and let literary elements intervene. In addition, it was a personal work, so he was able to insert with his own experience, and among others, the one’s own poem played an important role. Jo Jaesam broke the monotony of a narrative by activating the aesthetic emotions of reader with his own poem. And taking a step forward, he breathe life into the Encyclopedic Collections by projecting consciousness to human and society.

일제강점기 문집편찬과 대구･경북지역의 상황

황위주(Hwang, Wee Zoo) 대동한문학회 2016 大東漢文學 Vol.49 No.-

본고는 일제강점기 문집 편찬의 전국적 상황을 개괄한 다음, 특히 대구･ 경북지역의 실상과 특징을 보다 자세히 살펴보고자 한 것이다. 전국적 상황을 살펴본 결과, 한문시대가 끝난 것으로 간주해온 1900년 이후 오히려 이전보다 많은 문집이 간행된 사실을 확인할 수 있었다. 간행 주체는 대부분 서당에서 공부한 위정척사 계열의 학자들이었고, 간행 대상은 신라부터 일제강점 당대에 이르기까지 유명한 인물의 문집을 두루 망라하였다. 그리고 이전에 간행한 것을 중간하기도 하고, 미처 간행하지 못한 것을 신간하기도 하는 등 다른 어떤 시대보다 활발한 간행양상을 보였다. 대구･경북지역의 경우, 위정척사 계열의 학자가 다른 어떤 지역보다 많았다. 그래서 이들 또한 문집 간행에 적극 나섰다. 시기적으로는 신라부터 한말까지를 두루 포괄 하였고, 인물형에 있어서도 관료 학자 문장가 등을 가리지 않았다. 그리고 문집 편찬을 주도한 인물은 자신이 곧 문집을 남긴 주인공이기도 하였다.그래서 이들이 남긴 문집을 별도로 검토해본 결과 몇 가지 흥미로운 점이 있었다. 지역별로는 유명 학자의 근거지였던 안동 봉화 칠곡 성주 영천 지역 문집이 특히 많았고, 간행 시기는 광복 이전보다 이후가 오히려 일반적 이었으며, 간행형태는 소규모 석인본의 비중이 높았다. 수록 내용에 있어서도 表箋 狀啓 對策 등 몇 가지 문체는 완전히 사라졌고, 관습적인 시문과 편지의 비중이 높아졌으며, 새로운 시대상을 반영한 글이 추가되기도 하였 다. 이런 사실을 종합적으로 고려할 때 일제강점기를 한문시대가 끝난 것으로 간주하는 관점은 수정할 필요가 있을 듯하였다. 간행한 문집의 총량, 간행 대상으로 삼은 인물의 비중, 문집의 형태와 내용상의 변화 등 여러 면에서 독자적인 가치가 충분하기 때문이다. 따라서 일제강점기는 국문과 한문의 역할이 근본적으로 바뀌어가는 과도기로 보는 것이 바람직할 것으로 판단되며, 이런 관점에서 양자의 서로 다른 역할과 상호작용을 함께 주목할 필요가 있을 듯하다. This study examines the nationwide literary collection compilation situations during the Japanese colonial rule of Korea, and takes a close look at the situations and characteristics of Daegu and Gyeongbuk region in this regard. The examination of nationwide situations found that, after the 1900s, when the Chinese classics era presumably ended, rather than before, more literary collections were published. They were mostly published by scholars of the Wijeongcheoksa (Pro-Neo-Confucianism Movement) who studied Chinese classics at Seodang schools. Publications covered a wide range of literary collections by famous figures from Silla to the Japanese colonial rule. And, some previous publications were republished, and others were newly published, all suggesting active publication activities. The Daegu and Gyeongbuk region had more Wijeongcheoksa scholars than other regions. They thus were positive in publishing literary collections. The publication of literary collections widely covered Silla to the time of Japanese colonial rule, and covered diverse figures from government officers to scholars to writers. Those who led the compilation of literary collections were those who authored the literary collections. The examination of such literary collections revealed a few interesting things.By region, there were many literary collections which were produced in Andong, Bonghwa, etc. which were home to many famous scholars, and by publication time, more publications were made after the liberation of Korea than before it. Publication pattern was that the rate of small-scale lithographic printing versions was high. Of recorded contents, certain writing styles of the previous times completely disappeared, the rate of customary poems and letters was high, and writings of new times were added, indicating many changes. Putting together all this, the viewpoint that the Chinese classic era ended by the time of Japanese colonial rule needs to be revised. The transit time when the roles of Korean language and classic Chinese literature fundamentally changed should be set up to pay attention to the interaction thereof.