唐抄本 杜甫의 문집이 일본에 流傳된 정황에 대한 略論

( Hasebe Tsuyoshi ) 한국한문학회 2014 韓國漢文學硏究 Vol.0 No.56

This paper suggests possibility of Dufu(杜甫)``s collection including Munwonyeonghwa(_文苑英華_) which was published in the Northern Song(北宋) dynasty and introduces circumstances of Dufu(杜甫)``s collection flowed to Japan. Dufu(杜甫)``s collection including Munwonyeonghwa(_文苑英華_) belongs to divergent lineage compared to Songbondugongbujip(_宋本杜工部集_). Also Dufu(杜甫)``s collection including Munwonyeonghwa(_文苑英華_) is related to Dufu``s collection of poems compared to Dugongbujipsojip(_杜工部 集小集_) and Dangsiryuseon(_唐詩類選_), because these books contained Dufu``s collection. Meanwhile, there were lots of editions in the Tang(唐) dynasty according to original scripts Dugongbujipsojip(_杜工部集小集_), Dangsiryuseon(_唐詩 類選_) and Munwonyeonghwa(_文苑英華_). When Wonin(圓仁, 794-864) who entered Tang as a foreign student brought two books of Duwonoejip(_杜員外集_) from Tang. As they were not complete Dufu(杜甫)``s collection but collectanea, we can infer that varieties of Dufu``s collection would catch on. Cheonjaegagu(_千載佳句_) included the poem of Dufu in the Heian period(平安時代). Accordingly, these poems showed the same tendency, and reflected trait of Dufu``s collection. In conclusion, varieties of Dufu``s collection independently may distribute and they were not likely to spread extensively in the Tang dynasty. Thus, the Dufu``s collection flowed to Japan and likely to beaccepted them in the Heian period.

杜詩分門纂類書의 분류체계 考察

이창희(Lee, Changhee) 대동한문학회 2020 大東漢文學 Vol.62 No.-

본고는 동아시아 한시 분류의 계보 속에서 杜詩 분류체계가 갖는 위상을 살펴보기 위한 시론으로 杜詩分門纂類書의 분류체계를 고찰한 것이다. 이를 위해 2장에서는 杜詩分門纂類書의 분류체계와 체재 특성을 분석하였다. 3장에서는 杜詩分門纂類書 간에 보이는 분목의 편입･통합 그리고 수록 작품의 분목 이동에 집중하여 각 문헌 간의 분류체계를 비교･대조하였다. 그 개략은 다음과 같다. 杜詩는 두 가지 유형의 分門纂類書에서 분류되고 각각의 공간에 재배치되었다. 하나는 『集千家註分類杜工部詩』와 같이 杜詩 전체를 대상으로 분류한 것이다. 다른 하나는 『虞註杜律』과 『杜律趙註』 등 律詩만을 대상으로 分門･分類의 형식을 통해 정의하고 재분절화한 경우이다. 전자의 분문찬류서는 1차적으로 詩體別 분류를 적용한 『杜詩分類集註』를 제외하고는 대략 2단계 지식체계를 통해 杜詩를 분류하였다. 우선 『文選』의 체재와 동일하게 體別 분류를 적용하여 ‘雜賦’ 뒤에 ‘絶句’, ‘歌’, ‘行’이라는 독립적 공간을 설정하였다. 또한 ‘雜賦’를 제외한 개별 분목에 대해서도 體와 類로 체재를 형성했다. 律詩만을 選集한 杜詩分門纂類書로서는 『虞註杜律』과 『杜律趙註』가 대표적이다. 이들은 詩體別 분류가 우선적으로 적용되어 있다. 『虞註杜律』은 『杜律演義』의 僞書로 논의된 바 있지만, 편차는 오히려 『集千家註分類杜工部詩』를 수용하는 한편 일부 분목을 통합･편입시켰다. 특히 『杜律趙註』의 분류자가 기존의 지식체계를 답습하지 않고 새로운 분류 인식을 통해 다른 選詩 결과를 보여준 점은 주목할 만하다. 『杜律趙註』를 제외한 대다수의 분류본은 『集千家註分類杜工部詩』의 편차를 수용했다. 하지만 『虞註杜律』, 『杜詩分類集註』 등과 같이 1차적으로 詩體別 분류를 적용한 경우, 『集千家註分類杜工部詩』의 편차를 따르면서 분목을 통합시키며 분목 간의 계층적 카테고리를 형성시켰다. 또한 분목 간의 경계가 모호한 경우, 각 분목에 위치한 작품군과의 제재 혹은 주제의 동질성을 고려하여 일부 분목을 편입시키기도 했다. 추가적으로 杜詩分類本 간에는 작품의 분목 이동이 발견된다. 이는 주로 『虞註杜律』과 같이 詩體別 분류가 우선적으로 적용된 분류본에서 찾아볼 수 있다. 이 경우 詩體別 분류를 적용한 이후, 분류자가 각 분목에 배치된 작품군의 동질성을 형성하고, 보다 명확한 분류체계를 구축하고자 일부 작품의 분목을 조정한 것으로 짐작된다. This article examines the characteristics in compilation and categorization of the anthology of Dufu in the tradition of Chinese poetry categorization (分門纂類). The poetry of Dufu is classified in two types of books. One is a form which is for all of the Dufu’s poetry such as Classified Collection of Du Gonbu s Poetry with Copious Annotations(集千家註分類杜工部詩). The other is a sort like Zhaofang or Yuji’s Commentary on Dufu’s poetry(杜律趙註, 虞註杜律) only for regulated verses(律詩) that have five or seven characters in a line. The first types of Dufu’s poetry categorization books generally adopt two-level classification system with the exception of Classified Collection of Du Gonbu s Poetry(杜詩分類集註). That is, the editor classified poetry by styles by applying the same classification method as that of Moonsun(文選): Sino-Korean Quatrain(絶句), ge(歌), xing(行), etc. And then he classified them by thematic categorization. Of the second types of Dufu’s poetry categorization books, especially duluzhaozhu(杜律趙註) is remarkable. Though there being cases of adopting existing classification items, the editor uses his unique sense of classification, resulting in the distinctive aspects of categorization which are quite different from those of the conventional Dufu’s poetry categorization books. The majority of Dufu’s poetry categorization books adopt the method of Classified Collection of Du Gonbu s Poetry with Copious Annotations(集千家註分類杜工部詩)’s classification with the exception of duluzhaozhu(杜律趙註). Though, Chinese poetry categorization books which are classified by styles at first like Yuji’s Commentary on Dufu’s poetry(虞註杜律) did not copy the existing classification system as it was. They edited it according to their own standard and readjusted classification system as they saw fit such as integrating the items. In addition, some items are incorporated in other items when the boundary between the items unclear. Although the Chinese poetry categorization books have many limits to the characteristics of the classification method, studying the classification system of the books is necessary so as to determine the systematic and comprehensive classification of Sino-Korean poetry.

杜甫ㆍ高適ㆍ岑參ㆍ儲光羲의 題慈恩寺塔 詩 比較

정호준 한국외국어대학교 중국연구소 2008 中國硏究 Vol.43 No.-

Dufu spent securing a government position in Changan from 35 years old(Tianbao 5-A.D. 746) to 44 years old(Tianbao 14-A.D. 755). But he didn't gain his end and fell through. So he was financially and mentally embarrassed. But at that time as he kept good company, he forgot his misfortune in a moment. Dufu, Gaoshi, Censhen, Chuguangxi and Xueju(薛據) went on a tour together, and went up this tower in Tianbao 11(AD 752). At that time, they composed their poems to make their noises for Ciensida. So these poems speak for their distinctive features, especially Dufu's poems have been come into its own for a important change of creation method. Therefore at this report we inquiry into Dufu, Gaoshi, Censhen and Chuguangxi's poem and study their the contents and the characteristics. At this report we except lost Xueju's poems. Gaoshi, Censhen and Chuguangxi's poems contained sentiments for the tower and embracements for Buddhism, compared with Dufu's poems contained mainly cares and worries for the situation of the day. So we can find Dufu's patriotism and excellent critical power for the reality. Therefore we can find that Dufu's poem of the day contained critical contents for the reality, and that Dufu lined up for the start to create a excellent work of poem.

杜甫의 題畵詩 考

정호준 중국학연구회 2014 중국학연구 Vol.- No.68

This study examine the features of DuFu's the Titled Paintings 20. The Titled Paintings introduce and describe the picture, it is a poem that captures the feeling of the poet or the argument of the poet collectively. The Titled Paintings can be a special kind of Poems on Thing, it is originated from the expansion of the material of the poem itself in the development of Chinese painting art. Many poets has left the Titled Paintings in Chinese history. Among them, DuFu has left a large footprint in the Titled Paintings area. Of course, as everyone knows, The appearance of the poem that poets added a poem in earnest on paintings began in the Song Dynasty, though DuFu's the Titled Paintings was a great contribution in the development of the poetry to combine the painting arts and the poetry arts. Nevertheless, in our country, rather than to study separately only DuFu's the Titled Paintings, until now, has seen the research as part of the poem-on-thing. This situation, there has been insufficient to consider only the excellence of DuFu's the Titled Paintings and its features. Therefore, in this report, I examined the artistry and the features of Dufu's the Titled Paintings 20, I considered by dividing DuFu's the Titled Paintings into the theme of pictures of a green pine trees, landscapes, horses, cranes, hawks and so on. And I analyzed artistic features of these poems. In this research, I found that DuFu's poem has a variety of materials and an understanding beyond the boundaries between the arts. Thus, it is opportunity to look at the association of the different genres of art and the study of the literature itself. I think this research direction is in line with the consilience currently pursuing research of Chinese.

두보 "기주(夔州)이후"시의 조선적 수용

여희정 ( Hee Jeong Yeo ) 시학과 언어학회 2013 시학과 언어학 Vol.24 No.-

Joseon intellectuals recognized Dufu`s peoms of the post Kuizhou era separately among his peoms and metioned them in various method. The discourses on Dufu`s poems of the post Kuizhou era had started to show up in earnest since the mid-Joseon period. It can be roughly divided into two aspects. First, there had been skeptical discourses in the16th and 17th centuries. In these discourses, Dufu`s poems of the post Kuizhou era were recognized as works that were unworthy of learning or achieved lower level than his poems of previous Kuizhou. This recognition was related to Zhuzixue(朱子學) that influenced Joseon intellectuals and revivalism in literature that had been thriving in the mid-Joseon period. Second, some scholars regarded Dufu`s poems of the post Kuizhou era as the highest level works. However, they didn`t mention why these works are excellent. In these disourses, it was a self evident fact. And then Dufu`s poems of the post Kuizhou era served an function of basis in poetic discourses that pursue characteristics of relations among nature, poems and poets. These discourses had been repeated until the late Joseon period with citing Dufu`s poems of the post Kuizhou era. It was beacuse the case of Dufu`s poems of the post Kuizhou era brought cheer to unlucky poets who have talent.

조선중기 도학가의 두보 시 수용 양상 -이황과 이이를 중심으로-

정재철 ( Jae Chul Jung ) 한국한문학회 2014 韓國漢文學硏究 Vol.0 No.56

Philosopher Lee Hwang of the middle period of the Joseon Dynasty published _Guwenqianjijiangjie古文前集講解_ as he had taught _Guwenzhenbaoqianji 古文眞寶前集_ to the literati and edited the contents. And in the collection by his followers, Jinlong金隆 and Lidehong李德弘, are the contents they asked questions to Lihuang李滉 about 44 pieces of Dufu杜甫``s poems from _Guwenzhenbaoqianji_. Totally 32 pieces of Dufu``s works Lihuang and his followers taught or questioned were comprised in these books. Meanwhile, Lier李珥 published _Jingyanmiaoxuan精言妙選_ after he had classified Chinese poetry by eight kinds of styles. This book contained 520 poems from the works of Zhuowenjun卓文君 in Han漢 Dynasty to those of Chenyuyi陳與義 in Song宋 Dynasty and also 48 pieces of Dufu``s poems were included in it. This study observed the fact that the two philosophers, who are representing korean moral philosophy, had profound understandings about Dufu``s poetry and considered the aspects and meanings of the acceptance of his poetry with the esthetic consciousness based on the high philosophical thoughts of the two. Lihuang and Lier went through the process of formulating the system of Zhuxi朱熹``s philosophy, Xinglixue性理學 through the arguments with several scholars in the same age and through this process, they learned that literature, ultimately, must help recover the righteousness of the nature by purifying the polluted mind due to human desires. By the way,Lihuang thought most of the Joseon songs as worldly music and composed 「Taoshanshierqu陶山十二曲」to make people sing the righteousness of nature, but Lier chose elaborate Chinese poetry as good examples, classified them by eight kinds of styles, and published _Jingyanmiaoxuan_. The reason why the two judged Korean Songs and Chinese Poems with different points of view was the difference of their perspectives about the activism for Li理. Lihuang thought this nation``s songs were filled with Qi氣 and came from Renxin人心 mingled with virtue and vice, but Lier considered the Chinese poems given to the world after _Shijing詩經_ were combined with poems with Daoxin道心 and Renxin. As above-mentioned, the difference of the two philosopher``s literary views was completely reflected in the contents of the acceptance of Dubo``s poetry. Lihuang, who emphasized the activism of Li理, considered the poems in _Guwenzhenbaoqianji_ were derived from Renxin and mixed with virtue and vice, and reinterpreted them and thaught his followers to get rid of Renxin and get back moral Daoxin. But Lier, who denied the activism of Li理, considered Dufu``s works were mingled with the poems from Renxin and Daoxin, and classified the 40 pieces of poems of Dufu by various styles from simplicity to elegance and helped the reader control their Renxin. Like this, It is significant that the aspects of the acceptance of Dufu``s poetry manifested the characteristics of literature of the mid-Joseon Dynasty, which systemized Zhuxi``s Xinglixue, established a new theory, and constructed unprecedented literary esthetics of the moral philosophers.

소재 노수신 오언율시의 표현 수법 연구

이남면 충남대학교 유학연구소 2022 儒學硏究 Vol.59 No.-

This study set out to discuss the Five-Syllabic Code Verse of Sojae Noh Su-shin in terms of Expressive Methods. The traces of Dufu's poetry(杜詩) often appear in Noh Su-shin's Five-Syllabic Code Verse, and there are many cases where ingenious expressions are included in elaborate compositions. The results of study are as follows. Noh Su-shin often quoted Dufu's poetry in his poems. If he sympathized with Dufu's words and thoughts, he quoted one or two verses of Dufu's poetry as they were, or changed some letters of Dufu's poetry to match the current situation. He sometimes overturned Dufu's words, actions or thoughts, and at this time, he expressed in an intense tone using infinitive, questionable words, and adverbs. When he compared Dufu's situation with himself, he lamented or comforted his own situation by emphasizing the same and different things. In addition, Noh Su-shin particularly emphasized parallelism(對仗), and elaborately composed not only the symmetry of letters or poetry, but also the symmetry of meaning. In particular, while arranging carefully opposite idea under strict rules of parallelism, he used slang, intense and unique expressions, and showed ingenuity through witty and unfamiliar methods such as changing the poetical development or using the 4-1 verse. Through this discussion, it is possible to confirm that Noh Su-shin tried to show his personality while accepting Dufu's poetry and observing the strict formality. 본고는 16세기의 시인인 소재(蘇齋) 노수신(盧守愼, 1515~1590)의 오언율시를 표현 수법의 측면에서 논한 글이다. 노수신의 오언율시에 두보시의 흔적이 자주 나타나며 또 정교한 구성에 기발한 표현들이 담겨 있다는 특징을 염두에 두고 그 구체적양상을 살폈다. 그 결과는 다음과 같다. 노수신은 두시를 자신의 시에 자주 인용하였다. 두보의 말과 생각에 공감한 경우두보 시의 한두 구절을 그대로 인용하거나 두보 시 구절의 일부 글자를 바꾸어 현상황에 맞추었다. 두보의 언행이나 생각을 뒤집기도 하였는데 이때 부정사나 의문사, 부사어 등을 활용하여 강렬한 어세로 표현하였다. 두보의 처지와 자신을 비교할때에는 두보 시를 인용하면서도 서로 같고 다른 차이를 부각시켰으며, 이를 통해 자신의 처지를 한탄하거나 위로하기도 하였다. 또한 노수신은 대장 격식을 특히 중시하였으며 단순히 글자나 시어의 대칭뿐 아니라 의미상의 대칭 역시 정교하게 구성하였다. 특히 철저한 대장 격식 안에 상반된 의경을 치밀하게 배치하면서도 속어를 사용하거나 강렬하고 독특한 표현을 구사하였으며, 시상 전개에 변화를 주거나 4-1의 특수 구법을 활용하는 등 재치 있고 낯선 방식을 통해 기발함을 보여주었다. 이러한 논의를 통해 노수신이 오언율시를 창작할 때 두보시를 수용하고 엄정한 격식을 준수하면서도 자신의 개성을 발휘하고자 했던 면모를 확인할 수 있다.

杜甫와 岑參 交遊 考

정호준 韓國外國語大學校 外國學綜合硏究센터 中國硏究所 2005 中國硏究 Vol.36 No.-

Dufu has been recognized as a consummator of classic poems due to his natural gift and effort. The social intercourse with his friends who had poetic genius, however, helped establish his position. Associating with lots of poets, Dufu debated poetry and prose, and exchanged the poems in his life. He seemed to get a slight influence to establish his own poetic aspect under the process. Studying the social intercourse with Censhen, Dufu's friend who had been a friend since their meeting at the ages of youth, in the vicinity of the Revolt of Anshi, Dufu's favor about Censhen and holding making much of him in his life was considered In conclusion, this study shows the friendly intercourse of two representative poets at the poems of Tang age. Dufu's poetic aspect can be understood by studying the process of social intercourse between Dufu and other poets.

『瀛奎律髓』所載 杜甫 詠物詩 小考 -方回의 評語를 중심으로

정호준 한국외국어대학교 중국연구소 2008 中國硏究 Vol.42 No.-

『瀛奎律髓(Yingkuilusui)』 is a selection of 5 · 7 style of Chinese verse. This book was compiled by 方回(Fanghui)(1227-1307) of the 元(Yuan) Dynasty in 至元(Zhiyuan) 20 years(1283). In his preface, mentioned as "the essence of the sentence is poetry, the essence of poetry is a style Chinese verse. A selection is a verse, a description is a talk on poetry." So this book is regarded as a talk on poetry, but is different with the existing talk on poetry as the essay. In other words, this book is distinguished sharply by the selection of poems, the comments on poems and a talk on poetry, which are combined mutually. This book included above three thousands poems of 385 poets in the period of the Tang age and the Song age, that were arranged in 49 class and 49 volume by the theme, and were arranged in chronological order. 『瀛奎律髓(Yingkuilusui)』included the selected poems of many school of thought. But this book included mainly the things of Dufu and included relatively many poems of Jiangxishi school. Fanghui's the point of the comments on poems excluded Xikun school, included mainly Jiangxi school. So he advocted the theory of "one progenitor three sect", this is a correct valuation. That is to say, he held Dufu in reverence as the progenitor of poetry, and he regarded 黃庭堅(Huangtingjian), 陳師道(Chenshidao), 陳與義(Chenyuyi) as "three sect". In addition to expand the power of influence of Jiangxishi school, his intention increased the honor of Jiangxishi school that was superior to "Study of Dufu". However, it is the fact that many researchers interested in the study of Dufu's poems less than Fanghui interested in them. Therefore, I studied Fangui's comment for Dufu's poems on thing based in 『瀛奎律髓(Yingkuilusui)』

杜甫 七言絶句 연작시에 나타나는 경계적 특징에 대한 고찰

최석원 한국중국학회 2023 중국학보 Vol.105 No.-

As is well known, Dufu’s poetry was not recognized for its literary value because it was different from the literary nature required for quatrain poem. Nevertheless, there is still a positive evaluation of Dufu’s quatrain poem, and it is also true that the characteristics that appear in other forms of poetry are also confirmed in the creation of quatrain poem. Therefore, in this paper, the characteristics and meaning of creation were considered by using serial poems among the works of Dufu’s seven-character-quatrain as the subject of research. Most of the seven-character-quatrain of Dufu are long series poems, in this paper, the composition and rhythms of seven-character-quatrain serial poems were considered. At the same time, the aesthetic value and literary meaning of the seven-character-quatrain serial poems were considered through the localization and boundary that appear in Dufu’s poetry. 주지하듯 杜甫의 절구는 역대 평자들에게 그 문학적 가치를 인정받지 못했는데, 이는 기존 절구에게 요구되는 미학적 지향과 달랐던 때문이다. 그럼에도 불구하고 여전히 杜甫 절구에 대한 긍정적 평가 또한 존재하며 다른 詩體에서 나타나는 창작 상의 특징들 또한 절구의 창작에서 확인할 수 있는 것도 사실이다. 이에 본 논문에서는 杜甫의 칠언절구 작품 가운데 연작시 17題 85수를 연구 대상으로 삼아 창작의 특징과 그 의미에 대해 고찰하였다. 杜甫의 칠언절구 연작시는 5수 이상으로 구성된 장편 연작시가 많은 부분을 차지하고 있는데, 이를 통해 장편 칠언절구 연작시에 나타나 있는 장법 운용과 격률 활용의 양상을 확인하였다. 이와 함께 杜甫 절구의 창작에 나타나는 장소화와 경계성을 통해 칠언절구 연작시에 내재된 미학적 가치와 문학적 의미에 대해 고찰하였다.