庾信<哀江南賦>作年補正

서보여 중국학연구회 2025 중국학연구 Vol.- No.112

유신(庾信)의 <애강남부(哀江南賦)> 창작년도는 오랫동안 많은 연구자들이 관심을 가져온 중요한 주제이다. 현재는 진인각(陳寅恪)의 578년설, 노동군(魯同群)의 557년설, 임이(林怡)와 이석진(李錫鎮)의 566년설, 장운(莊芸)의 560년설 이렇게 네 가지 설이 있다. 그러나 이들 견해에는 모두 몇 가지 문제가 있다. 그중 560년에 작성되었다는 설이 비교적 신뢰할 만하나, 논의가 아직 충분하지 않다. 본 논문은 이전 연구자들의 견해를 바탕으로 560년이 <애강남부(哀江南賦)>의 최종 완성 시기임을 확인하며, 이에 대해 세 가지 이유를 제시한다. 첫째, “주명제(周明帝)의 인지전(麟趾殿)교서 설치”와 “주홍정(周弘正)의 출사 북주(北周)”라는 두 여론장(輿論場)의 형성은 유신(庾信)의 심신에 큰 영향을 미쳤으며, 이는 <애강남부(哀江南賦)> 최종 완성의 중요한 계기가 되었다. 둘째, 양조(梁朝) 옛 통치지역이 모두 진(陳)에 속하게 되고, 유신(庾信) 등이 남쪽으로 돌아올 것은 북주와 진조(陳朝) 외교의 공식 의제가 아니다. 이 두 가지 기본 사실은 <애강남부(哀江南賦)> 최종 완성의 객관적 환경과 기본 전제이다. 셋째, 동문공진(同文共振)의 텍스트 관계에서 상호 증명할 수 있는 관련성을 찾을 수 있다. 예를 들어, <의영회(擬詠懷)>, <의연주(擬連珠)>, <소원부(小園賦)> 등의 작품과 <애강남부(哀江南賦)>의 관계로, 이들 모두 “양조 강남”에 대한 애수를 보여주며, 이는 신체적으로 진조(陳朝)로 돌아가는 것이 아니라, 초혼(招魂)의 의미를 가진 정신적 회귀이다. 따라서 우리는 <애강남부(哀江南賦)>가 특정 연도에 창작된 것이 아니라 점진적으로 완성된 과정이 있으며, 560년이 최종 완성 시기라는 결론에 도달할 수 있다. The year of composition of Yu Xin's(庾信) “Lament for the South of the Yangtze”(哀江南賦) has long been a significant topic of interest for many researchers. Currently, there are four main theories: Chen Yinke's(陳寅恪) 578 theory, Lu Tongqun's(魯同群) 557 theory, Lin Yi(林怡) and Li Xizhen's(李錫鎮) 566 theory, and Zhuang Yun's(莊芸) 560 theory. However, each of these perspectives has certain issues. Among them, the theory that it was composed in 560 is relatively more reliable, although the argumentation is still somewhat weak. This paper, building on previous viewpoints, confirms that 560 is the final completion time of “Lament for the South of the Yangtze” for three main reasons: First, the formation of the two public opinion fields, “Emperor Ming of Zhou(周明帝) established the Linzhi Hall(麟趾殿) for proofreading books” and “Zhou Hongzheng(周弘正) was sent to the Northern Zhou,” had a significant impact on Yu Xin's mind and body, serving as an important catalyst for the final completion of the work during this period. Second, the old territories of the Liang Dynasty were all under Chen's control, and the return of Yu Xin and others to the south was not an official diplomatic issue between the Northern Zhou and the Chen Dynasty. These two basic facts constitute the objective environment and fundamental premise for the final completion of “Lament for the South of the Yangtze.” Third, from the intertextual relationships, mutual corroborations can be found, such as the relationships between “Imitation of Lament,” “Imitation of Linked Pearls,” “Small Garden Rhapsody,” and “Lament for the South of the Yangtze.” They all express mourning for the “South of the Yangtze of the Liang Dynasty” (not the “South of the Yangtze of the Chen Dynasty”), where the longing for return is not a physical return to the Chen Dynasty but a spiritual return with a summoning of the soul. Therefore, we can conclude that “Lament for the South of the Yangtze” was not created in a specific year but underwent a gradual process of completion, with 560 being the final completion time.

一般評論中的徐庾文評

서보여 ( Xu Bao-yu ) 중국어문연구회 2017 中國語文論叢 Vol.0 No.79

Xu Ling(徐陵) and Yu Xin(庾信) are the most important authors in the Six Dynasties, who developed formal skills, rhetoric effects and phonetic beauty to the highest level. But the later evaluations were very difficult to balance in appraise. Some comments based on the ritual, music and political education, so they imputed the duty of national ruin to Xu Yu(徐庾). Some other based on the relationship between literary achievements and personality, debased their achievements since their some errors in the political integrity. In the Song Dynasty, with the emergence of Li Xue(理學), Xu Yu`s parallel prose got attacked once again as the sinner of literary. They despised the parallel prose just the style couldn`t accord with the principle named by Dao(道). Peoples in the Ming Dynasty liked returning to the ancient. So Xu Yu was to be discovered by the proofreading, note-offering, and annotating. The positive evaluations were increased more than before. To Qing Dynasty, the parallel prose was very flourishing. In the debating on parallel prose and prose, Xu Yu`s parallel prose was viewed as the orthodox form and taken unprecedented seriously. How to see the value of Xu Yu`s parallel prose, that formed a criticism history of Chinese literature. In some way, the level to praise or censure Xu Yu`s parallel prose reflects the level to recognize Chinese literature.

庾信《哀江南賦》“招魂”主題論

서보여 중국인문학회 2019 中國人文科學 Vol.0 No.71

Historically, researchers have regarded Yu Xin's(庾信) Ai Jiangnan fu(哀江南賦) as a mourning work for the death of Liang. On this basis, this paper proposes that the theme of Ai Jiangnan fu(哀江南賦) consists of two parts: mourning the death of liang is the obvious part, the hidden part is evocation. This has long been a precedent in the Chu-ci(楚辭). The evocation theme of Yu Xin's (庾信) Ai Jiangnan fu(哀江南賦) has not been paid attention to by most researchers, because the theme of his mourning for the death of Liang is too obvious, thus overshadowing people's thinking and research dimension. The theme of Ai Jiangnan fu(哀江南賦) is not a single theme, but a compound one. Yu Xin's(庾信) Ai Jiangnan fu(哀江南賦),Jiang Yan’s (江淹) Ai Qianli Fu (哀千里賦)、Sheng Jiong’s (沈炯) Hun Gui Fu(魂歸賦)、Yan Zhitui’s (顔之推) Guan Woshen Fu (觀我生賦) constitute a text system. All of them are closely related to Chuci-zhaohun (楚辭·招魂), and form a phenomenon of intertextuality resonance. Therefore, in the textual interpretation of them, each single text should be put under the system to be examined. Only in this way we cannot stray too far from the subject.

歷代文話賦話中的徐庾文評

Xu Bao Yu 중국학연구회 2017 중국학연구 Vol.- No.79

Xu Ling and Yu Xin were the most famous authors in the Six Dynasties since Zhao Ming-Wenxuan(昭明文選). No more research work has been carried out in the comments of their paralled prose(駢文). In this paper we just only discuss the comments in the theory of paralled prose and Fu(賦). In the theory of paralled prose, Wang Wenlu’s(王文祿) Wen-Mai(文脈), Lang Zhangju’s(梁章鉅) Tui-An’s Lunwen(退庵論文), Sun Mei’s(孫梅) SiLiu-Conghua(四六叢話) and Sun Deqian’s(孫德謙) Liucao-Lizhi(六朝儷指) were the important books. Among them, the two Sun’s was the master work. They basically hold positive attitude toward Xu-Yu’s(徐庾) paralled prose, which in accord with their views about paralled prose and essay. So they could break through the time, heap praise on Xu-Yu’s creation, not affected by ancient prose movement(古文運動), Song-Ming neo-confucianism(宋明理學) and the trend of classicism. In the theory of Fu(賦), there were some different judgements. The blame, such as Zhu Yao’s(祝堯) Gufu-Bianti(古賦辨體), objected the comic(俳體), modern(侓體) and Si-Liu style(四六體), defended the old form(古體). On the other side, the praise, such as Li Diaoyuan’s(李調元) Fuhua(賦話), broke away from traditional ideas and affirmed Xu-Yu’s contributions. On the whole, Qing Dynasty’s people could give the positive evaluations on Xu-Yu for their awareness of stylistic. It’s because they attached importance to it. However, since the last century new culture movement(新文化運動), the trend of criticism appeared again. They had an obvious inclination of the emphasis on content rather than on form, which still existed in the most histories of literature written by modern researchers.

庾信〈哀江南賦〉“招魂”論 - 兼論同類寫作中的互文共振現象

徐寶余(徐?余) 한국중어중문학회 2020 한국중어중문학회 우수논문집 Vol.- No.-

The Historically, researchers have regarded Yu Xin’s(庾信) Ai Jiangnan Fu(哀江南賦) as a mourning work for the death of Liang. On this basis, this paper proposes that the theme of Ai Jiangnan Fu(哀江南賦) consists of two parts: mourning the death of Liang is the obvious part, the hidden part is evocation. This has long been a precedent in the Chu-ci(楚辭). The evocation theme of Yu Xin’s (庾信) Ai Jiangnan Fu(哀江南賦) has not been paid attention to by most researchers, because the theme of his mourning for the death of Liang is too obvious, thus overshadowing people’s thinking and research dimension. The theme of Ai Jiangnan Fu(哀江南賦) is not a single theme, but a compound one. Yu Xin’s(庾信) Ai Jiangnan fu(哀江南賦),Jiang Yan’s (江淹) Ai Qianli Fu (哀千里賦)、Sheng Jiong’s (沈炯) Hun Gui Fu(魂歸賦)、Yan Zhitui’s (顔之推) Guan Woshen Fu (觀我生賦) constitute a text system. All of them are closely related to Chuci-zhaohun (楚辭·招魂), and form a phenomenon of intertextuality resonance. Therefore, in the textual interpretation of them, each single text should be put under the system to be examined. Only in this way we cannot stray too far from the subject.

“淸新庾開府”小考 -庾信詩 風格論-

노경희 영남중국어문학회 2014 중국어문학 Vol.0 No.67

This paper is intended to reveal Yu xin`s literary style and his literary feature, through the analysis of Yu xin`s poetry on the base of understanding Du fu`s intention of poetic comment “qing xin yu kai fu”. The clear-fresh style evokes vivid and new impressions by euphonizing lines of verse, and by using a number of expressive techniques in his poetry. The splendid-sensuous style is the output of combination of his clearfresh style and romantic passion. The mature-with-age style is the result of union between his clear-fresh style and true feelings, like lamentation over the national ruin, anguish of defection and the thinking of fatherland in his later years. Therefore the clear-fresh style is the dominant literary style in his poetry and the core of his literature.

유신(庾信)에 대한 두보(杜甫)의 수용 소고(小考) -“감발(感發)”의 시각을 중심으로-

박유빈 영남중국어문학회 2014 중국어문학 Vol.0 No.67

In this study, an intrinsic category of Gambal was presented in a way that the common aspects inhering in both writer`s Gambal process and reader`s Gambal process were drawn, and the meaning of each process was understood and the relation of both was defined. In addition, Gambal-centric approach was taken toward two poetic figures, Du Fu and Yu Xin who were considered by the later criticism to have an intimate relationship of sharing the poetic and personal sympathy. The shared aesthetic experience between Du Fu and Yu Xin was that Du Fu discovered the potentiality that Yu Xin had put in his works, had anexperience of Gambal as a reader, and based on which, he had an experience of Gambal in turn as a writer, resulting in its embodiment in his own works. It is understood that “Xiangguan zhi si,” “Confucian influence,” and “Gambal-created image” that were shared by the two served as underlying bosom that enables Du Fu to discover the potentiality that Yu Xin had put in his works, to have an experience of Gambal as a reader and as a writer.