팡원산(方文山)·저우제룬(周杰倫) ‘중국풍 음악’의 문학 실천 확장— 〈청화자(青花瓷)〉와 〈난정서(蘭亭序)〉의 이중 번역 구조와 음향적 재구성 = The Expanded Literary Practice of “Zhongguo feng Musicn” by Vincent Fang (Fang Wenshan) and Jay Chou (Zhou Jielun):The Double Translation Structure and Sonic Reconstruction of “Blue and White Porcelainn” (Qinghua Ci) and "Orchid Pavilion Preface" (La

다국어 초록 (Multilingual Abstract)

This study analyzes Vincent Fang and Jay Chou’s representative Zhongguo feng music, “Blue and White Porcelain” (Qinghua Ci) and “Orchid Pavilion Preface” (Lanting Xu), from the perspective of intersemiotic translation, examining how non-verbal artistic signs—specifically, craft and calligraphy—are translated into auditory forms. It proposes a “double translation” model: the primary translation verbalizes visual materiality through six rhetorical devices—transformation, enallage, antithesis, rhetorical question, allusion, and the fusion of emotion and scenery (qingjing jiaorong)—while the secondary translation maps this verbal blueprint onto acoustic elements based on structural homology. The analysis reveals that in the primary translation, Fang transposes the static texture of blue-and-white porcelain into an intimate narrative of waiting, and the kinetic brushwork of calligraphy into dynamic imagery of sorrow. In the secondary translation, Chou actualizes “Blue and White Porcelain” into an auditory form of “condensation and lingering resonance” through a pentatonic scale, a semitone-up modulation, and an extended fade-out. “Orchid Pavilion Preface” is reconstructed into a form of “flow and pause” utilizing percussive rhythms, two-octave melodic leaps, and a framing structure. Ultimately, this study demonstrates that their collaboration transcends simple classical appropriation, constituting an advanced practice of intermedial translation that rebuilds the sensory core of visual arts within sonic structures.