한국과 중국의 양금기보법 비교연구: 개량양금 기술표현체계 개발을 전제로

윤은화 ( Yin Hua Yin ),양미지 ( Mi Ji Yang ) 세계음악학회 2015 음악과 문화 Vol.32 No.-

The Yang geum mentioned Guracheolsahyeongeum (歐邏鐵絃琴) by Yeonam Park, Ji-won in Western Yang guem. Originally,Yang geum was a sort of Dulcimer. It has been translated and spread to the world under the names such as Tympanon, Harkvert, Cembalo and Yangqin. Actually new traditional music composition skills in Korea are represented and required in several ways through the Modernized Yang Geum, but the real state of a study on sign system of the modernized Yang Geum`` new performing technique is poor. Accordingly, this study was made to develop a newly improved Yang Geum``s performing technique sign system by searching the existing Chinese Yangqin, Korean Traditional Yang Geum and Modernized Yang Geum``s performing technique sign systems. Yang Geum has been actively played, studied and improved as a folk musical instrument of the world, while the Korean Yang Geum research has continued to have little on traditional music. The Korean Traditional Yang Geum is dominated mainly by one-handed technique, whose tune is frequently changed by environment. And popular acceptance is poor due to the limit of the instrument noisy tuning. As a result, China``s Modernized Yang Geum Performing Technique Sign has been systematically studied for a long time and organized and mentioned on the first top part of any manual. This notated a special technique playing in commonly used sign when playing the Modernized Yang Geum Performing that led to the correct Modernized Yang Geum performing expression. First, the Chinese Modernized Yang Geum is composed by staff notation and number notation, and the correct technique training is good by the notation system of performing technique. Second, the Korean Traditional Yang Geum is composed by staff notation(except jungganbo), and the notation sign system ofjungganbo was used by the notation sign system of performing technique when having reverse score of staff notation. Third, Korea``s 18strings Modernized Yang Geum improved the musical instrument by magnifying the register of the Korean Traditional Yang Geum and the notation system was notated by the staff notation of the West. The notation sign systems of performing technique includes left hand slapping · Zither Stick · vibrato · rolling the stick · One-time pushing · twice pushing · pushing from the bottom sound · glissando · grace note · continuation technique · chord technique · barrier slapping technique · left-hand technique · right-hand technique · arpeggio · banchegui technique · staccato · tremolo · two voice tremolo · vibrato · mute technique. However, several performing techniques by composers are reported cause chaos, and even the same performing notation is differently indicated to have poor precision shown. Fourth, Korea``s 43strings Modernized Yang Geum is a musical instrument improved by the North Korea``s Yang Geum with all techniques of the existing instrument 18strings Modernized Yang Geum accepted that led not only to Korean music but to several musics. This allowed the suspension of the existing 18strings Improved Yang Geum to be expanded, the traditionality and merits of the existing Modernized Yang Geum to be preserved by improving the musical instruments such as pedaling, the new Modernized Yang Geum performing technique to be expanded according the demand of a new era, and several technique expressions to be progressively presented. As a result, the Korean Modernized Yang Geum``s new performing technique sign systempresented the pedal, Goejo rate, performing technique of two stick, semitone technique expression system by expanding the existing Modernized Yang Geum performing technique except the rolling the stick, arpeggio, tremolo, vibrato. Like this, 43strings Modernized Yang Geum is the musical instrument improved to play several musics not only of the existing 18strings Modernized Yang Geum performing techniques but also new traditional music, which seems to be the beginning to raise importance of the future new traditional music Yang Geum``simportance used.

근대 간찰서식집 ‘金玉尺牘’류 연구

윤세순 동방한문학회 2022 東方漢文學 Vol.- No.92

In this paper, we first identified the bibliographical information on the 8 types of geumokcheokdok. Then, the influence relationship was examined by comparing the text structure, the title and content of the example letter, and the appendix. As a result of examining the bibliographic details of the eight Geum-ok cheok-dok(金玉尺牘), although the term 'geumokcheok-dok' was commonly included in all titles, the time of compilation, the author, and the publisher were different. For this reason, it was not possible to grasp the influence relationship between the eight geumokcheok-dok based only on the bibliographic information such as the date of compilation and the author and publisher. On the other hand, while tracing the bibliographical information of 8 Geum-ok cheok-dok, I found a letter-writing guidebooks with the same contents and different titles from the Geum-ok cheok-dok. Daejeungbo(大增補) mussang Geum-ok cheok-dok(無雙金玉尺牘) has a different title from botong-yuhaeng(普通流行) seongmun cheok-dok(成文尺牘) , Juhaebueum(註解附音) mobeom Geum-ok cheok-dok(模範金玉尺牘) has a different title from Shinsik-yuhaeng(新式流行) mussang-juok cheok-dok(無雙金玉尺牘) , Bueumjuhae(附音註解) teugbyeol Geum-ok cheok-dok(特別金玉尺牘) has a different title from Bueumjuhae(附音註解) Shinsik-cheongnyeoncheok-dok(新式靑年尺牘) . But the contents are the same. Through this fact, I came to know that ‘Geum-ok cheok-dok’ was not a published letter-writing guidebook as it continuously changed and developed with its own uniqueness. Since the letter-writing guidebook titled 'Geum-ok cheok-dok' was sold with great success in the early days, I think that later editors competitively to give the title of 'Geum-ok cheok-dok' to the letter-writing guidebook they compiled. Next, by comparing the composition and contents of the eight ‘Geum-ok cheok-dok’, a certain influence relationship was revealed between them. Juhaebu- eum(註解附音) mussang Geum-ok cheok-dok(無雙金玉尺牘) , Juhaebueum(註解附音) mobeom Geum-ok cheok-dok(模範金玉尺牘) and Seokjabueum(釋字附音) choesin Geum-ok cheok-dok borrowed many of the Sample letter from Bueumjuseok shinsik Geum-ok cheok-dok , the early Geum-ok cheok-dok. In addition, Bueumjuhae teugbyeol Geum-ok cheok-dok does not borrow the example letters from Seokjabooeum choesin Geum-ok cheok-dok and Dajeungbo mussang Geum-ok cheok-dok , but has been modified in a way that makes the text easier to understand and rich in content. And it can be said that it is a characteristic of the letter writing guidebook for the Geum-ok che-ok that the appendix contains the Components of the letter form, various ceremonial procedures, new style note, and eastern and western chronology in common. 본고에서는 8종의 금옥척독류에 대해 먼저 서지사항을 파악해 보고, 이후로 본문 구성, 예문 간찰의 제목과 내용, 그리고 부록의 비교를 통해 영향 관계 등을 살펴보았다. 금옥척독류의 서지사항을 파악해 본 결과, 書名에는 모두 ‘金玉尺牘’이라는 용어가 공통적으로 들어가 있지만, 편찬 시기, 편찬자[저작 겸 발행자], 발행처가 각기 달랐다. 이 때문에 편찬 시기와 편찬자와 발행처 등의 서지사항만으로는 금옥척독류 상호 간의 영향 관계를 파악해 낼 수 없었다. 한편 금옥척독류의 서지사항을 추적하다가 금옥척독류와 표제만 다른 간찰서식집을 발견하였다. 대증보 무쌍금옥척독 은 보통유행 성문척독 과, 주해부음 모범금옥척독 은 신식유행 무쌍주옥척독 과, 부음주해 특별금옥척독 은 부음주해 신식청년척독 과 書名만 다를 뿐이지 내용은 동일한 간찰서식집이었다. 이를 통해 금옥척독류가 금옥척독류만의 고유성을 확보한 상태에서 지속적으로 변화 발전하면서 출간된 간찰서식집이 아니라는 사실을 알게 되었다. 초창기 ‘금옥척독’이란 서명의 간찰서식집이 절찬리에 판매되는 인기를 누렸기 때문에 이후 편찬자들이 앞다투어 자신들이 편찬한 간찰서식집에 ‘금옥척독’이라는 이름을 포함시켰던 것이 아닌가 추정해 볼 수 있다. 서지사항을 살핀 이후에 금옥척독류 상호 간의 구성 및 내용 등을 비교해 보니, 이들 사이에 영향 관계가 드러났다. 주해부음 무쌍금옥척독 과 주해부음 모범금옥척독 , 그리고 석자부음 최신금옥척독 은 초창기 금옥척독인 부음주석 신식금옥척독 의 예문 간찰 상당수를 그대로 차용하고 있었다. 또한 부음주해 특별금옥척독 은 석자부음 최신금옥척독 과 대증보 무쌍금옥척독 의 간찰 일부를 그대로 차용하지 않고 문장을 이해하기 쉽고, 내용이 풍부해지는 방향으로 수정하기도 했다. 또한 부록에 서식대요, 축문식, 신식단찰, 동서양연대표가 공통으로 수록되어 있는 것은 금옥척독류의 특징이라 할 수 있을 것이다. 금옥척독류는 1920․30년대 간찰서식집이 베스트셀러가 될 정도로 인기를 얻게 되자, 우후죽순처럼 간행된 상황 속에게 탄생된 간찰서식집이다. 대상 독자는 당시 한문과 한글을 모두 알고 있는 남성 식자층이었다. 또한 근대 문물을 적극적으로 받아들이려는 진취성을 드러내기보다는 평범한 일상을 영위하는 사람들을 독자로 想定하여 편찬되었다.

제직기술과 문양을 통해 본 금직물(錦織物)의 동서교류에 관한 연구

신혜성(Hey Sung Shin) 한국복식학회 2012 服飾 Vol.62 No.4

The purpose of this study is to investigate the changes and developments that occurred as a result of the exchanges of gyeong-geum(經錦), a warp-faced compound weave of East Asia, and wie-geum(緯錦), a weft-faced compound weave of West Asia. In order to maximize the efficiency of this research, topics were narrowed down to the weaving skills and patterns, and the period was limited to the Tang dynasty. The systematic characteristics and differences of gyeong-geum and wie-geum were compared and contrasted through different works of literature. Then the excavated remains of geum-textiles were analyzed and the characteristics of the geum-textiles were defined in chronological order, 1) The origin of wie- geum is traced back to the time when West Asia started to imitate the weaving style of the East Asian gyeong-geum. When combined with the weaving skills of the West Asian, gyeong-geum, which broke through the West and developed into the weft-faced compound twill silk, or samite. The exchange of geum-textiles took place as the techniques of gastric filament woven geum-textiles returned to the East. Along with the pearl roundel motifs of Sassanian Persia, mythical animals and western motifs of hunter patterns were used for the patterns of wie-geumin during the early Tang dynasty. This tendency is related to pa-sa-geum(波斯錦) , ho-geum(胡錦), beon-geum(番錦) according to the recorded literature. The 8th and 9th century are periods when the West Asian Persian style was abandoned and the East Asian style, samite, was established. Not only did S twist silk threads replace Z twists, but also the repetition of patterns unfolded along with the weft and the warp. As this tendency was strengthened after the 9th century, the expression of patterns became more vividly colorful and showed both elements of naturalism and realism. The characteristics of the Bosangwha(寶相花) pattern in the Tang period were established with the rampantly repeated rosettes with birds often holding auspicious branches, that fly amid floral compositions.

16세기 士大夫 계층의 彈琴 趣味와 거문고

류속영(Ryu, Sok-young) 한국고전번역원 2014 民族文化 Vol.43 No.-

『묵재일기』에는 거문고를 지칭하는 용어로서 琴과 玄琴이 함께 사용되었다. 그러나 伽倻琴을 琴이라고 줄여서 표기한 경우는 없다. 이는 굳이 玄琴이라 하지 않고 琴으로 줄여서 표기해도 그것이 거문고를 뜻하는 데 용어상의 혼란이 일어나지 않을 만큼 16세기에는 琴과 玄琴이 서로 등식 관계의 용어로 확고하게 자리 잡고 있었기 때문이다. 그런데, 16세기에 사대부들이 그들의 탄금 취미를 위해 주로 선택한 악기는 玄琴과 短琴이었다. 玄琴이 5척인데 비해 短琴은 3척 정도의 길이로 제작된 짧고 가벼운 거문고였다. 그래서 현금은 주로 집 안에 두고 사용된 반면, 단금은 휴대에 용이한 악기여서 이문건은 야외의 정자나 연회의 자리에는 대부분 이 단금을 들고 가서 연주하곤 했다. 단금은 현금과 마찬가지로 6줄을 갖춘 것이 일반적이었으나, 맨 바깥쪽 武絃을 제거해서 5줄로 이루어진 五絃琴도 유통되고 있었다. 琴을 제작하는 방법과 과정은 예나 지금이나 별반 다를 바 없었다. 琴材와 ?, 그리고 여러 장식들을 깎고 다듬어서 이를 아교로 붙여서 하나의 琴을 완성하기까지는 품이 많이 들고 정교한 기술이 요구된다. 이문건처럼 사대부가 직접 琴을 제작하고 수리하는 일에 종사한 사례도 더러 있었지만, 이것이 일반적인 경향이었던 것은 아니다. 琴 제작의 실제 작업에는 주로 公私 노비들이 동원되었다. 특히 敎坊이 설치된 지방 관청에서는 기생들의 악기를 공급하고 수리하기 위해서는 악기 제작능력을 갖춘 匠工을 반드시 두어야만 했다. 그 역할을 경상북도 尙州에는 琴工이, 星州에는 木匠과 接琴奴 등이 맡아 하면서 官長의 명에 따라 사대부들의 악기 제작요구에 부응하기도 했다. 이문건은 성주에서 생활하는 동안 적어도 短琴 4개, 伽倻琴 1개, 月琴 1개, 玄琴 1개, 大琴 1개 등 8개의 악기를 제작했고, 月琴 2개, 短琴 3개, 玄琴 5개 등 10개의 악기와 5개의 琴材를 다른 사람들에게 주었을 뿐만 아니라, 파손된 악기를 수리해주거나 지역 주민들에게 자신의 琴을 빌려 주는 경우도 허다했음을 일기에서 확인할 수 있다. 이문건에게서 琴을 받거나 빌려 쓴 사람들은 주로 성주 인근의 地方官이나 士族으로서 이문건이 유배생활을 영위하는 데 실질적인 도움을 주었거나 각별한 친분관계를 맺은 사람들이었다. 그런 점에서 이문건이 성주 유배 생활 내내 악기제작에 몰두한 까닭은 그것이 유배자로서의 시름과 무료함을 달래기 위한 방편이기도 했지만, 악기를 매개로 하여 탄금취미를 공유하는 관리나 사족들과의 친분관계를 더욱 돈독히 하고 성주에서 자신의 입지를 구축하고자 했기 때문이라고도 볼 수 있다. The terms of Geum, Hyun-geum were together used to refer to Geomungo in the book of 『Mukjaeilgi』 .The term of Geum was never used to mean Gayagenm. When the term of Geum was said instead of Hyungeum, everyone knew it referred to Geomungo. The word of Geum had such a firm place as the abbreviation for Hyungeum that any confusion did not occur in its meaning. But it was two musical instruments called Hyungeum and Dangeum that the noblemen chose to play for their hobby of playing the Geum. Dangeum is three cheok (about 90㎝) long and a little lighter and its production period is shorter in comparison with those of 5 cheok (about 150 ㎝) Hyungeum. Thus Hyungeum was usually used for indoor played instrument while Dangeum was played at party held outside or on Jeongza, a kind of gazebo thanks to the advantage of being portable. Dangeum generally was made of six strings like Hyungeum. Also Five string Dangeum removed the string on the outside was used, too. The productive process and method of Geum has not c hanged over the years. The production of Geum requires much detailed handwork and Sophisticated technique such as cutting, trimming and pasting various accessories as well as main wood and several bridges(kwae) for Geum. Only a few noblemen such as Lee, Mun-geon could make and repaire their own musical instruments of Geum for themselves, which was not common case. Actually, many public and private slaves were rallied in production of Geum. Local governments which set up Kyobang specially had to hire handicraftsmen to supply and repair the musical instruments for gisaeng. The crafts who were called Geum-gong in Sangjuand and Mokgu and Jeopgeumno in Seoung took charge of these duties. Also they acted on the request of local noblemen who wanted to make Geum under the o rder of loc al chief. It has been revealed in 『Mukjaeilgi』 that Lee, Mun-geon made seven musical instruments including three sets of Dangeum, each set of Weolgeum, Hyungeum, Daegeum and Bipa. Also it has been recorded in his diary that he gave other people ten sets of musical instruments including two sets of Weolgeum, three Dangeum, and five Hyungeum as well as five pieces of wood for Geum. He gave such sets of Geum to the persons who offered him practical help and had close acquaintance with him as the local officials and people of higher ranks. At these points it could be considered that Lee, Mun-geon was devoted himself in making Geum during the whole years of exile not only to soothe away wearisome and anxiety but also to keep the close relationship with the local officials and higher ranks and establish his position.

성금연류 가야금산조 조현법 연구 ― 1950년대 음원을 중심으로 ―

추정현 ( Chu¸ Jeong-hyun ) 전남대학교 호남학연구원 2020 호남학 Vol.0 No.68

본고에서는 1950년대에 발매된 성금연의 세 음원 King Star K5955, Oasis 5560, 킹스타 KSM-1085 진양조를 채보하여 조현법이 어떻게 변화되었는지 살펴보았다. 또 최초로 가야금산조 음원을 남긴 김해선과 성금연의 스승인 안기옥의 진양조 음원을 성금연의 King Star K5955 음원과 비교해 보았다. 이를 통해 성금연류 가야금산조의 변화양상을 살펴볼 수 있었는데, 그 내용은 다음과 같다. 첫째, 가야금의 ‘지’줄을 ‘B’음으로 조현하는 현재의 조현법과 달리 King Star K5955 음원에서는 단2도가 높은 ‘c’음에 맞춰 조현하였는데, 이러한 현상은 1920년대 유성기 음반에 전하는 김해선과 안기옥의 산조 음원, 1960년대 김윤덕의 산조 음원에서도 확인할 수 있었다. 둘째, 킹스타 KSM-1085 음원 중 진양조와 Oasis 5560 음원에서는 ‘지’줄을 ‘B’음과 ‘c’음 중간 높이의 음으로 조현하여 산조를 시작하였다. 이는 King Star K5955에 비해 ‘지’줄이 낮아진 것인데, 이렇게 조현하는 현상은 성금연이 연주한 가야금산조의 다양한 음원과 그 딸들의 음원에서도 나타났다. 셋째, King Star K5955 음원과 Oasis 5560 음원에서는 13현 가야금으로 겹청조현법을 사용하였는데, 맨 아랫줄을 ‘흥’(G′)줄보다 한 옥타브 아래인 ‘청’(G″)줄로 조현함으로써 산조가야금으로 연주하는 것보다 음역이 확대되었다. 넷째, 성금연의 King Star K5955 음원에서는 평조로 진양조를 시작하였는데, 이는 성금연의 스승인 안기옥이 남긴 진양조 음원이 평조로 시작하는 것과 동일하다. 또 성금연과 안기옥의 평조는 최초로 가야금산조 음원을 남긴 김해선의 평조와 조현법이 동일하고, 같은 선율을 연주하고 있어 성금연의 King Star K5955 음원이 초기 가야금산조의 모습을 담고 있음을 확인할 수 있었다. 오늘날의 조현법보다 ‘지’줄을 단2도 높게 조현했던 성금연이 후에 ‘지’줄을 낮게 맞춰가며 산조를 만들어간 현상은 음계에까지 변화를 주는, 말하자면 산조의 음악적인 구성 체계를 바꾸는 중요한 전환점이 되었다고 볼 수 있다. This study investigated how tuning methods had been changed by transcribing Jinyangjo of three recording sources: King Star K5955, Oasis 5560, and King Star KSM-1085 by Seong Geum-yeon released in the 1950s. In addition, this paper compared Jinyangjo of Kim Hae-seon, who left the Gayageum Sanjo recording for the first time, and Ahn Gi-ok, the teacher of Seong Geum-yeon, with the King Star K5955 by Seong Geum-yeon. Through this analysis, it was possible to examine the aspect of transition of Seong Geum-yeon Ryu Gayageum Sanjo. The results are as follows. First, unlike the current tuning method in which the Gayageum's ji string is tuned to the ‘B’ sound, the King Star K5955 recording was tuned to the ‘c’ sound as a minor second higher tone, and this method was also confirmed in the Gayageum Sanjo of Kim Hae-seon and Ahn Gi-ok in the 1920's gramophone records, and the Sanjo recording by Kim Yoon-deok in the 1960s. Second, Jinyangjo in King Star KSM-1085 and Oasis 5560 started Sanjo tuned with the ji string as sound in the middle of the ‘B’ and ‘c’. Compared with the King Star K5955, the ji string was lowered, and this method was also revealed in the various recording sources of Gayageum Sanjo played by Seong Geum-yeon and their daughters. Third, the Sanjo of the King Star K5955 and the Oasis 5560 used a double-cheong tuning method with 13-string Gayageum, which extended tone register, compared with the playing of Sanjo Gayageum, by tuning the bottom Heung (G′) string to an octave lower Cheong (G″) string. Forth, in Seong Geum-yeon's King Star K5955 recording, Jinyangjo was started with Pyeongjo, which is the same as the Jinyangjo left by Ahn Gi-ok, Seong's teacher. In addition, the tuning method of Pyeongjo by Seong Geum-yeon and Ahn Gi-ok was the same as that of Kim Hae-seon, who left the first Gayageum Sanjo recording, and they played all the identical melody. Therefore, it was confirmed that the recording source of Seong Geum-yeon's King Star K5955 contained the shape of the early Gayageum Sanjo. The fact that Seong Geum-yeon tuned the ji string as a minor second higher sound than today's tuning method and later composed the Sanjo by adjusting the ji string lower might have been an important turning point in changing the scale, namely musical composition system of Sanjo.

한 · 일간 『금오신화』의 재발견과 의미

서미화(Suh, Mi Hwa),이춘희(Lee, Chun Hee) 동악어문학회 2019 동악어문학 Vol.77 No.-

본고는 1927년 최남선에 의해 소개된 잡지 『계명』에 수록된 『금오신화』를 중심으로 1884년 메이지본 『금오신화』와 1926년 잡지 『조선』, 『금오신화』를 비교하여 그 의미를 살피는 것을 목적으로 한다. 현재 『금오신화』는 고전에서 꽤 중요한 위치를 차지하고 있다. 그러나 창작된 시기부터 이러한 위치를 점유했을까? 조선시대로 소급해 올라가면 그렇지 않았던 것 같다. 『금오신화』는 지금의 유명세와 달리 조선의 독서계에서 기록이 그리 많지 않다. 『금오신화』는 1927년 최남선이 『계명(啓明)』 19호에 발표하면서 다시 빛을 보게 되었다. 최남선은 일본에서 이를 발견하여 국내로 소개했다. 최남선이 일본에서 발견한 것은 메이지본이다. 메이지본은 한․일 문사가 함께 참여한 것으로 기존 일본에 있던 고간본(古刊本)에 서문과 발문, 비평을 추가하여 새롭게 간행한 것이다. 이후 재조일본인 와다 이치로가 잡지 『조선』에 일본어로 번역한 『금오신화』를 연재한다. 연달아 최남선이 『금오신화』를 국내로 소개했다. 메이지본은 당시 일본에서의 한학부흥운동과 연관이 있으며 일본을 중심으로 동아시아의 학문을 정리할 필요성에 의해 선택되어졌다고도 볼 수 있다. 잡지 『조선』에서는 재조 일본인 와다 이치로가 내지인에게 조선인을 잘 이해시키기 위한 활동의 연장선으로 『금오신화』를 선택해 일본어로 번역했다. 최남선은 혼란한 근대전환기에 조선학 고취의 일환으로 『금오신화』 다시 읽기를 시도했다. 그의 시도는 성공한 것으로 보이며 『금오신화』는 여전히 고전의 위치를 지키고 있다. This article compares the meaning of three editions of Geum-o Shinhwa and examines the meaning of each. These are the Meiji version in 1884, the edition of the magazine Joseon in 1926, and the edition that introduced in magazine Gyemyeong by Choi Nam-sun in 1927, and this article compares the three writings centering on the Choi Nam-sun’s 1927 edition. Currently, Geum-o Shinhwa occupies a prominent position in classical literature. However, it is hard to say that it occupied an important position from the time of its creation, the Joseon Dynasty era. There are not many records of that period concerning the Geum-o Shinhwa. The title of the article only appears a few times. Geum-o Shinhwa, which had not been illuminated since then, was reilluminated by Choi Nam-sun in the Gyemyeong No. 19(1927). He, at that time, discovered the Meiji version of Geum-o Shinhwa(1884) in Japan and introduced it to Korea. The Meiji version was newly published with the addition of preface, footnotes, and criticisms of several Korean and Japanese scholars to the Goganbon(Old Book) in Japan. Ichiro Wada, a Japanese who lived in Joseon, serialized Geum-o Shinhwa translated into Japanese in the magazine Joseon in 1926. Following that, in 1927, Choi Nam-sun introduced Geum-o Shinhwa in Korea. The Meiji version was involved with the revival movement of Chinese literature in Japan at the time, and it can be considered that it was selected by necessity to sort out East Asian scholarship centered on Japan. Ichiro Wada personally translated Geum-o Shinhwa as part of his efforts to make the Japanese more understand the Korean people. On the other hand, Choi Nam-seon attempted to re-read Geum-o Shinhwa in order to promote Joseon studies in the turbulent modern period. Choi Nam-seon’s attempts seem to have succeeded, and the Geum-o Shinhwa still holds the position of classics.

사디스트의 향락 드라마 <하이에나>의 여자주인공 캐릭터 분석

신주진 한국현대정신분석학회 2024 현대정신분석 Vol.26 No.1

This study examines the character of Jung Geum-ja, the female protagonist of the drama “Hyena”, in a psychoanalytic framework called “The Jouissance of the Sadist”. Jeong Geum-ja in back alleys enters the center of power, a giant law firm, and the key is that she is not a righteous heroine, but rather a legal agent who realizes the inherent obscenity and violence of the law. Jeong Geum-ja, who pursues money by any means, is a fetishist, and at the same time, a sadist beyond the principle of pleasure, who can be seen as an pervert acting on behalf of the function of capitalism. In the past her sadistic plan of the pseudo-murder of the father is based on gender melancholia, not giving up her attachment to her mother. Geum-ja uses Yoon Hee-jae, an elite lawyer, as a stepping stone for entering the giant law firm, and plays the femme fatale to seduce him while refusing to date and love him, taking and leaving the position of women insensitivity. Hee-jae takes on the role of a conspirator or mediator of the perverted jouissance of Geum-ja, not the object of Geum-ja’s desire. As a sadist, Geum-ja’s main ideal is that she enjoys nothing other than the performance of law, and the political meaning of her sadistic jouissance is not conformity to the system, but the internal rupture of the system through “excessive identification” with the system. The sadistic jouissance of Geum-ja overlap with the feminine jouissance, which can be said to be the enjoyment of others who are not completely subordinate to the father’s law and the symbolic order of domination. Geum-ja proves the inherent obscenity, violence, and illegality of the father’s law by herself, without ever being attributed or incorporated into the world of men, thereby proving the incompleteness of the father’s law, the inherent failure and fall of the paternal function. 본 연구는 드라마 <하이에나>의 여자주인공 정금자 캐릭터를 ‘사디스트의 향락’이라는 정신분석적 틀로 고찰한다. 정금자는 뒷골목의 생계형 변호사에서 권력의 중심인 거대 로펌에 입성하는데, 핵심은 그녀가 정의로운 여성 영웅이 아니라, 정반대로 아버지 법의 내재적 외설성·폭력성을 실현하는 법의 대리자라는 사실이다. 수단과 방법을 가리지 않고 돈을 좇는 정금자는 물신주의자임과 동시에, 쾌락원칙 너머의 사디스트로서, 자본주의 기능을 대리하는 도착증자라고 볼 수 있다. 어린 시절 그녀가 폭력적 아버지를 감옥에 보낸 유사 부친살해의 사디스트적 기획에는 어머니에 대한 애착을 포기할 수 없는 젠더 우울증이 깔려 있다. 금자는 대형 로펌 입성의 발판으로 엘리트 변호사 윤희재를 이용하는데, 팜므 파탈을 연기하여 그를 유혹하면서도 연애도 사랑도 거부함으로써 여성 불감증의 자리를 오간다. 희재는 금자의 욕망의 대상이 아닌, 금자의 도착적 향락의 공모자 혹은 매개자의 역할을 떠맡는다. 사디스트로서 금자의 주이상스는 그녀가 법의 수행 이외에 아무 것도 즐기지 않는다는 것으로, 그 정치적 의미는 체계에 대한 순응이 아닌 체계와의 ‘과잉동일시’를 통한 체계의 내적 파열이다. 금자의 사디스트적 향락에 여성적 주이상스가 중첩되는데, 여성적 주이상스는 상징적 지배 질서와 아버지의 법에 온전히 종속되지 않는 타자의 향락, 잉여적 향락으로, 과잉동일시로 인한 사디스트의 도착적 향락과 접점을 이루게 된다. 금자는 남성들 세계에 귀속되지도 포섭되지도 않은 채, 자신의 존재 그 자체로 아버지 법의 그 내재적 외설성, 폭력성, 탈법성을 증명하며, 그로써 아버지 법의 불완전성, 부권적 기능의 내재적 실패와 몰락을 드러내준다.

불국사 석가탑 내 발견 금직물(錦織物) 고찰

심연옥(Yeon Ok Sim) 한국복식학회 2012 服飾 Vol.62 No.3

In 1966, Seokgatap pagoda in Bulguksa temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in Sarigong(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like Geum, Neung(twill), Rha(complex gauze), silk tabby and linen were also excavated. In this study, Geum fabric from the Seokgatap was closely examined. Geum of seokgatap is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of Geum: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. Geum of Seokgatap was made in the 8th century, since it was weaved in weft-faced compound weave twill which was popular in the 8-9th century. And also, the arrangement of the colors was done in the same way of gradation Geum silk which was popular in the 7-8th C in China and Japan. Third, we restored the pattern of Geum of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the Geum of Seokgatap was used for geumdae(a pouch made of geum) by analyzing all the documents and the characteristics of the fabric.

조선시대 女流漢詩를 통해 본 ‘琴’의 의미

성영애(Sung, YoungAi) 숭실대학교 한국문학과예술연구소 2017 한국문학과 예술 Vol.23 No.-

이 논문은 『韓國歷代女流漢詩文選』에서 조선시대 女流漢詩가운데에 琴의 소재와 관련되는 여류시인들의 신분과 내력을 살펴보고, 여류시인에 나타난 금의 의미를 밝히고자 한 글이다. 지금까지 조선시대 琴에 관한 연구는 수양을 목적으로 하는 남성 중심의 연구로 이루어져 여성에게서 금이 주는 의미가 어떠한 뜻이 내포되어 있는지 관심조차 갖지 못했다. 따라서 본고에서 『한국역대여류한시문선』에 수록된 조선시대 여류한시 중에 금을 소재로 한 여류시인들을 분석하여 그녀들의 신분계층과 내력 등을 살펴보고, 또 여류시인들의 한시에 나타나는 금이 의미하는 바를 구명하고자 했다. 『한국역대여류한시문선』에 수록된 조선시대 여류시인은 총 21명인데, 그 중에 금과 관련된 여류시인은 10명이었다. 이 10명의 여류시인은 조선전기와 후기로 나눌 수 있었는데, 조선전기는 黃眞伊·宋貞夫人·許蘭雪軒·李玉峯이고, 조선후기는 李梅窓·徐令壽閤·金三宜堂·金雲楚·朴竹西·姜只在堂이었다. 여류시인들은 사대부가 여성과 소실, 기녀의 신분계층으로 구성되었다. 조선시대 여류한시에 나타난 금이 의미하는 바는 세 가지로 압축되었다. 첫째, 이별의 대상은 임과 아들 그리고 남편이었으며, 이들 모두가 남성이라는 공통점을 갖는 동시에 한없이 기다려야하는 대상이었다. 그래서 거문고는 이별의 대상을 보고 싶어 하는 나의 마음을 위로해 주는 대상으로 파악되었다. 둘째, 조선사회는 여성은 출타한 남편이나 벼슬살이 하러 간 남편 등을 기다려야하는 반복적이고 연속된 삶의 일상이었다. 이러한 일상적인 삶으로 인해 기다림이 길어지면 그리움이 되고 그리움이 깊어지면 원망으로 이어지는 여류한시의 주제로 빠지지 않는 가장 보편적 서정이었다. 그래서 그리움·기다림의 정한에는 신분계층과는 상관없이 금의 소재와 관련되었다. 즉 거문고는 임을 그리워하고 기다리는 의미를 포함하는 그리움·기다림의 情恨이었다. 이는 조선시대 여성이라면 당연히 겪어야 하는 전통적인 아픔 혹은 恨인 것이다. 셋째, 여성에게서 거문고는 이별의 대상이 아들이 되어 선비들의 수양을 위해 갖춰야하는 하나의 도구로 존재되었고, 또 송정부인과 김운초에게 거문고는 즐거움의 도구로 의미를 가지기도 하였다. 즉 위로해 주는 대상, 수양과 즐거움을 대상으로 하는 거문고로 추구되었으며, 자신의 세속적인 마음을 씻기 위해 ‘竹林七賢’의 음악을 추구하였다. This paper is examine statuses and life histories of woman poets whose poems dealt with ‘geum’(琴), and meaning of geum among Women’s Chinese poetry in Hangook Yeokdae Yeoryu Hansi Munseon [Selection of Chinese Poetry Made by Woman Poets in Korean History]. Up to now, researches on geum have focused on male poets who played geum for their cultivation, and have not paid attention to what geum meant to women. Thus, this paper intended to analyze woman poets who dealt with geum in their poems in Hangook Yeokdae Yeoryu Hansi Munseon, and examine their statuses and life histories of them, and find out what geum(금) meant in Chinese poetry of them. There were 21 woman poets in total who are on the Hangook Yeokdae Yeoryu Hansi Munseon, and 10 of them dealt with geum. Those ten poets can be classified into two groups: those who lived in the first half of Joseon dynasty, and those who lived in the second half of the dynasty. The former group includes Hwang Jini(黃眞伊), Songjeongbuin(宋貞夫人), Heo Nanseolheon(許蘭雪軒). The latter group includes Lee Maechang(李梅窓), Seo Yeongsuhap(徐令壽閤), Kim Samidang(金三宜堂), Kim Uncho(金雲楚), Park Jukseo(朴竹西), and Gang Jijedang(姜只在堂). Their statuses ranged from those of gentry family to concubine to ginyeo. The meaning of geum expressed in women’s Chinese poetry can be summarized into three kinds. First, the object of separation was lover, son, and husband, all of whom had to wait indefinitely with the commonality of men. Therefore, the geomungo appeared to be an object to comfort my heart to see the object of separation. Second, geomungo was emotion of yearning and waiting symbolizing longing for and waiting for the objects. In Joseon dynasty, men and women were separated where men did outside works and women did household works. Women lived constrained by social, institutional, and moral requirements. Their lives were repetitive and continuous lives waiting for husband who went out, or went to other places as government officials. There was no difference in waiting for women whether they were from gentry family or concubines. It was a traditional way of life for women in those days. Third, in the women, the harpoon was a tool to be separated for the slaves to become a son, and the harpoon was a tool of pleasure for Songjeongbuin(宋貞夫人) and Kim Uncho(金雲楚). In other words, women was pursued as a harpoon aiming at comforting objects, fostering and enjoyment. Women pursued the music of ‘Jukrimchilhyeon’(竹林七賢) to wash his worldly mind.

韓國 傳統 笒의 製作法에 관한 硏究

朴文烈 청주대학교 인문과학연구소 2011 人文科學論集 Vol.42 No.-

This study analyzes on the manufacturing of the Korean traditional flute, Geum. The major findings are as follows: (1) Including Hyungeum, Gayageum and Bipa, Geum is one of the Korean traditional musical instruments which have been played early since the period of King Yuri in the Shilla Dynasty. (2) Geum is classified into three types, referred to as Daegeum, Junggeum and Sogeum, and each one can be played on 324, 245 and 298 kinds of melody. (3) There are various styles for playing Geum, for example, the Akhakgwebeom published by Seong Hyeon and others, describes seven ways of fingering. (4) The manufacturing of the Korean traditional Geum has almost disappeared because of some reasons, like differences in scale between eastern and western music, and problems in making a livelihood. (5) I try to restore the way of manufacturing the Korean traditional Geum with Kim Tae-Hyeon who is a master craftsman and a player of Daegeum, referring to the way of manufacturing Geum described in the Akhakgwebeom.