고전문학 : 거문고의 음향에 대한 비유적 심상 -고전문헌의 내용을 중심으로-

정하운 ( Ha Un Jung ) 한성대학교 한성어문학회 2013 漢城語文學 Vol.32 No.-

물소리에 비유한 경우에서는 물계자의 일화가 그 효시라고 볼 수 있으며, 다양하고 세분된 정서로 표현되어 문장을 이끌고 있는 점이 확인되고 있다. 거문고와 물소리의 시청각적 맑음을 통해 마음의 정화를 꾀하거나, 자신의 처지를 반영하기도 하고, 의인화된 표현도 발견되고 있다. 바람소리에 비유한 경우에서는, 바람·자연과 사물과 거문고에 부딪히는 소리 등을 표현하여 작가 자신도 자연과 일체가 되고 싶은 심회도 드러내 보이고 있다. 바람과 물소리에 비유한 경우 중에는, 거문고 소리는 맑고 그윽하다고 하였으며, 소리가 옛 뜻에 부합되면, 심신이 맑아지고 가볍게 여겨진다고 하고 있다. 사람 목소리에 비유한 경우에서는, 글 읽는 소리와 목소리의 억양을 거문고 소리에 비유하기도 하였다. 기타의 경우에서는, 시상에 풍경화를 그리기 위한 경우와 현악기의 공명이 장소에 따라 차이가 있는 점을 부각시키고 있다. 한편, 청각적 감상을 시각적으로 표현하여 의성어가 연상되게 하고, 음악외적 이면을 심화하여 표현하기도 하고, 거문고의 음향과는 거리가 먼의성어로 표현하기도 했다. 그리고 자연과 거문고 울림의 추구하는 바가 상통하고 있음을 표현한 점도 발견되고 있다. 백결선생의 방아 찧는 곡조를 연주했다는 고사를 인용한 문장도 있다. 또 자연의 음향이 어느 악기연주보다도 심신이 맑고 깨끗해진다고 하였다. 이는, 거문고 울림이 자연의 소리에 가까워야 된다는 경지를 반영한 것으로 보인다. 그리고 정신성이 부여되지 않은 연주는 불필요한 연주로 표현한 경우도 있다. When compared to the sound of water the anecdote of general Mulgyeja can be seen as the prototype, the point that it leads the sentence through expression with varied and fine-grained emotion has been confirmed. Through audiovisual serenity of Geomungo and water sound it is designed to seek the purification of the heart, and to reflect their plight, and their anthropomorphic representations have been found. When compared to the sound of the wind, through expression of sounds resulting from the wind`s crashing into the nature and objects with Geomungo the artist himself also wishes to show his own emotion to be united with the nature. Among when compared to the wind and the sound of water, the Geomungo sound was said to be clear and graceful, when the sound meets the old intention, the mind and body has been considered to be clear and light. When compared to the human voice, the text reading voice and voice intonation have been also compared to the sound of Geomungo. In other cases, the case to draw the landscape in a poem image and the resonance of strings varies depending on the place are highlighted. On the other hand, the visual representation of auditory impressions has reminded us of onomatopoeia, the hidden side out of the music has been also intensified and expressed, and it has been often represented in onomatopoeia far from the sound of Geomungo. In addition the point has been found that the nature and resonance of Geomungo have something in common to seek. There is also an excerpt of the sentence to quote the anecdote that the teacher Baekgyeol was playing the tune to beat rice in a mortar. In addition, the natural sound has been said to make our mind and body clearer and cleaner than playing any other musical instrument. This seems to be seen to reflect the ground that the sound of Geomungo has to be near the sound of the nature. And the performance spiritually not granted has been also expressed as unnecessary one in some cases.

고전문헌에 나타난 거문고의 명칭에 대한 연구

정하운 ( Ha Un Jung ) 우리어문학회 2011 우리어문연구 Vol.40 No.-

Geomungo, a Korean traditional musical instrument, was called baekakjijang (meaning the best musical instrument of all) or as the collective name for string instruments. It was produced in Goguryeo, and Geumdo, the theory and techniques of geomungo, was accomplished in Unified Silla. Classical scholars of Goryeo and Joseon praised its unique aspects as an essential instrument to cultivate their mind. It played various roles for a long time. However, due to its impracticality and difficult playing techniques, its status is falling. The record of geomungo is in Chapter Hyeongeum, ``Akji`` of Samguksagii, and volume 7 of Akhaguebeom has it recorded as Hyeongeumi. Chinese musical ideas about geum in classical literatures represent the musical ideas of geomungo. It tells that Chinese ideas influenced the musical ideas of geomungo players. Considering that the word geum include traditional string instruments and gayageum and that another name for geum was geumungo, it was deducted that significant parts of intangible values of geomungo were introduced from China. In Samguksagi, it was explained to have been created by remodeling chilhyeongeum, but Japanese scholars argue that it originated from wagonghu. Also, scholars of Korea, China and Japan are discussing that wagonghu of Wei and Qin era found in Chinese musical academic circles is the origin of geomungo. Korean scholars consider geum in ancient tomb murals which is assumed to be a similar instrument before the introduction of chilhyeongeum as hyeongeum, but Jananese scholars are disagreeing because they consider it as wagonghu. Even some Korean scholars believe that is is geomungo. Beside geomungo, geum and goto, the Bible has a record of a western string instrument that is interpreted as geomungo. It tells that similar looking string instruments were interpreted or translated as geomungo from the ancient times until the latter era of the Joseon Dynasty, the Japanese Rule Era. Another name for geum or names of musical instruments related with certain players were introdueced with the ideas of geum to replace geomungo in Korean classical literatures. Aesthetic elements and ideas of playing geum were succeeded by geomungo players. It seems that Korean classical scholars selected ``geomungo`` as a collective name for geum, seul, geomungo and other similar instruments and adopted the concept with Chinese musical ideas. Geum was introduced in the 11th year of King Yejong, Goryeo (1116) and was used with seul in music for Confucian ceremonies, and its techniques were stopped at the end of Korean Empire Period. Gayageum and seul are similar in that the right hand and the both hands fingers except that they have different numbers and sizes of strings. However, geum and geomungo have different structures and techniques. Literatures include sentences explaining that materials and parts of geum, seul, geomungo and such are royal foxglove tree and silk strings, of geum are hui and jul and of seul are juhyeon and ju. However, it is hard to find uses of anjok, gwae and suldae which are names of parts of geomungo. Famous geums have contexts of history. Along with dignity and talents of producers and backgrounds and ideas of the period, they symbolizes or metaphorizes contexts of classical literatures to be involved with the ideas of geomungo. Traces of famous geum players left in classical literatures were reborn as geomungo ideas of Korean classical scholars. Musical and literary ideas from surfaces or belows of masters and famous songs of famous geums and words and phrases showing other aesthetic senses were used in Korean classical literature physically or chemically. Joseon scholars considered geomungo as the tool of manners and cultures. Therefore, it can be deducted that they would have possessed one essentially and that there would have been many players. The instruments played by Mulgyeja and Master Baekgyeol seemed to be a traditional string instrument not geomungo or gayageum considering their living periods. Also, geum in the story about Sameumgap recoreded in Samgukyusa is sure a traditional string instrument not geomungo considering the times of introductions of geomungo and gayageum. Because musical ideas of geum, seul and geomungo were mixedly used in such literatures, accurate names of geum, seul and geomungo became confused. Also, because geomungo was used as the collective name for string instruments, western string instruments were interpreted as geomungo, and even traditional string instruments before introductions of geomungo and gayageum are all interpreted as geomungo.