论李白《古风五十九首》中的海意象

황월명(Huang, Yue-Ming)(黄,玥,明),김창경(Kim, Chang-Gyeong)(金昌庆,) 대한중국학회 2020 중국학 Vol.73 No.-

李白笔下诗歌1054首,出现“海”字词汇有292次。其《古风五十九首》中有20首使用海意象。其诗歌中的海意象大多借海的外在物象与其内在情感意象想构建,展现“言在意外”之美。李白笔下的“海”有一部分是临海而作,有感而发,但大部分多“虚拟的海”,借助典故加以大胆的想象与夸张幻化出来的自己心中的海。或宣泄个人胸中之块垒,或是对人生际遇发出感慨,亦或是借典借神仙大海来表达自我情感。其笔下的大海的形象,正如其自己,诗人在描述海,表达海的同时,更像是在表达自我,抒发自我。在风格与创作的原则上,李白继承了《离骚》中的“自我”与《诗经》的“风雅”、“美刺”、及“现实”精神。此篇以《古风五十九首》为研究对象,分析其海意象的生成、组合和表达,透过诗人对海意象的构建分析其审美特色以及承载的诗人内在情感、内心世界。 The image of “Ocean” in Li Bai’s poems is mostly constructed from the external images of the ocean and his inner emotional images to show the beauty of “words beyond the meaning”. Some of Li Bai’s poems about “ocean” were written near the ocean based on his feeling, but most of them were about “virtual ocean”, which was the illusory ocean in his mind through bold imagination and exaggeration based on the allusions. Some of them expressed his depression or his perception about life, or expressed his feelings through allusions and the ocean of immortals. The image of the ocean in his works was just like himself. From this point of view, the image of the ocean is more like “materialized poet himself”. While describing and expressing the ocean, the poet was more like expressing himself. Li Bai sighed in his The 35th Ancient Style Poem that “Thinking of Emperor Wen of Zhou Dynasty in reading Taiga, and the influence of Song have collapsed for a long time. On the principle of style and creation, Li Bai inherited the “self” in Li Sao and the “elegance”, “beauty” and “reality” spirits of the Book of Songs. Therefore, this paper takes the text of Fifty-nine Ancient Style Poems as the subject, and starting from the “image of the ocean” involved in it, analyzes the poet’s inner feelings and inner mind through the “image of the ocean”.

신라 및 고려시대 화엄학 문헌의 성격과 내용

최연식(Yeon Shik Choe) 동국대학교 불교문화연구원 2011 佛敎學報 Vol.0 No.60

고대와 중세 한국 불교계에서 『화엄경』에 대한 관심과 연구는 교학 연구의 중심을 이루었고, 그에 따라 수많은 종류의 『화엄경』 관련 문헌들이 저술되었다. 하지만 일부 단간이라도 전해져 내용을 확인할 수 있는 문헌을 모두 합쳐도 20종이 채 안 되며, 그 내용이 온전하게 전해지는 문헌은 10여 종 정도에 불과하다. 이 논문에서는 그 내용이 확인 가능한 신라와 고려시대의 화엄학 문헌인 義相의 『法界圖(記) 』와 『華嚴經問答』, 元曉의 『華嚴經疏』, 明효의 『海印三昧論』, 表員의 『華嚴經文義要決問答』, 均如의 『敎分記圓通초』, 『旨歸章圓通초』, 『三寶章圓通記』, 『十句章圓通記』, 『法界圖圓通記』, 『法界圖記叢髓錄』, 知訥의 『華嚴論節要』, 體元의 『華嚴經觀自在菩薩所說法門別行疏』, 그리고 신라 화엄학의 영향 하에 찬술된 『華嚴一乘成佛妙義』와 『健拏標訶一乘修行者秘密義記』 등의 내용을 토대로 한국 고대 및 중세의 『화엄경』 관련 문헌들의 성격에 대해 살펴보았다. 신라와 고려에서는 『화엄경』 자체에 대한 주석서는 매우 드물어서 원효의 『화엄 경소』와 태현의 『화엄경고적기』 외에는 확인되지 않는다. 『화엄경』과 화엄학의 개념을 체계적으로 검토하고 있는 문헌도 표원의 『화엄경문의요결문답』 이외에는 확인되지 않는다. 신라 및 고려 화엄학의 주류를 이루었던 의상계에서는 주로 義相과 智 儼, 法藏 등의 저술에 대한 해설서 즉 私記성격의 문헌을 찬술하였다. 특히 의상의 『법계도기』에 대한 해설서가 가장 많이 찬술되어 신라와 고려의 화엄학이 『법계도기』를 기반으로 하였음을 보여준다. 신라 및 고려시대의 화엄학은 주로 60권 『화엄경』및 그 주석서들에 기초하였고, 80권이나 40권 『화엄경』과 관련된 저술은 많지 않다. 80권 『화엄경』과 관련된 것은 13세기 지눌의 『화엄론절요』, 40권 『화엄경』 관련 문헌은 14세기 체원의 『화엄경관자재보살소설법문별행소』가 각기 유일하다. 한편 의상의 『법계도기』를 비롯하여 『해인삼매론』, 『화엄일승수행자비밀의기』 등 화엄의 진리를 槃詩를 통해 표현한 문헌들이 많다는 것도 한국 화엄학 문헌의 특성으로 볼 수 있다. 이들 문헌은 화엄학의 이론들을 설명하기보다 깨달음의 경지를 직접적으로 묘사하는 데 중점을 두고 있는데, 『법계도기』에 기초한 한국 화엄학의 발전 양상의 또 다른 모습이라고 할 수 있다. During the ancient and medieval times of Korean Buddhism the Huayan Sutra was one of the most popular sutras among the scholar monks and the study on it was the main theme of the time. Also many works on the Huayan Sutra was written in the times. However the number of preserved works even including some ones left in the fragments is less than 20. There remain only a dozen of works intact. In this article we try to find the characteristics of Korean Huayan Literature in ancient and medeival times through the investigations on the works written in Shilla and Koryeo dynasties which include Uisang`s the (Expalanation on) the Dharma-dhatu Diagram(『法界圖(記)』) and the Catechism on Huayan Sutra(『華嚴經問答』), Wonhyo`s the Commentary on Huayan Sutra(『華嚴經疏』), Myeonghyo`s On the Ocean-seal Sammadhi(『海印三昧論』), Pyowon`s the Explanations on the Essentials of Huayan Sutra(『華嚴經文義要決問答』), Gyunyeo`s Commentaries on Zhiyan, Fazang and Uisang`s works(『十句章圓通記』, 『敎分記圓通초』, 『旨歸章圓通초』, 『三寶章圓通記』, 『法界圖圓通記』), Jinul`s the Summary of (Li Tongxian`s) Commentary on Huayan Sutra(『華嚴論節要』), Chewon`s the Commentary on the Holy teaching of Avalokitesvara in Huayan Sutra(『華嚴經觀自在菩薩所說法門別行疏』), Gyeondeung`s the Excellent Teaching of Huayan One Vehicle on Attaining Buddhahood 『華嚴一乘成佛妙義』and anonymous the Collection of Essences of the (Expalanation on) the Dharma-dhatu Diagram(『法界圖記叢髓錄』) and the Ganda-vyuha eka-yana Practicer`s Secret Teaching(『健拏標訶一乘修行者秘密義記』). There were very few commentaries on Huayan Sutra itself in Shilla andKoryeo dynasties. Wonhyo`s Commentary and Taehyeon`s the Archaeological Commentary on Huayan Sutra(『華嚴經古跡記』) are the only ones known while the former remain in fragments and the other only in name. The systematical introduction to Huayan Sutra was also very rare; the Explanations on the Essentials of Huayan Sutra is the only one known and preserved. Uisang`s school, the mainstream of Huayan School during Shilla and Koryeo, had much interest in understanding the thoughts of Zhiyan, Uisana and Fazang and produced only the explanations on their works. Especially the explanations on Uisang`s the (Expalanation on) the Dharma-dhatu Diagram were much popular. Shilla and Koryeo Huayan study was mainly based on 60 volume Sutra and its commentaries, while the 80 volume and 40 volume Sutras got very little interest. Both of the two Suras have only one related work; the Summary of (Li Tongxian`s) Commentary on Huayan Sutra is on 80 volume Sutra, while the Commentary on the Holy teaching of Avalokitesvara in Huayan Sutra is on 40 volume Sutra. It is also one of the characteristics of Krean Huayan Buddhism that there were many works which show the Truth by diagram such as the (Expalanation on) the Dharma-dhatu Diagram, the Ocean-seal Sammadhi Treatise and the Ganda-vyuha eka-yana Practicer`s Secret Teaching. These works focus on directly describing the state of Enlightenment instead of logically explaining the Huayan theories, which may be an aspect of Korean Huayan Buddhism based on Uisang`s works.

概念隐喻视角下舒婷诗歌中花类意象的认知解读

王斐(Wang, Fei) 대한중국학회 2021 중국학 Vol.76 No.-

舒婷诗歌重视个人情感的抒发,表现出对个体价值的关注。虽然这并不符合当时时代的主流意识形态,但舒婷诗歌并不是进行直白的对抗和反叛,而是通过内心情感的观照来辐射外部世界。这样的创作过程中,诗人运用了丰富的意象,并通过隐喻使这些意象具有了多指向性。基于这一点,从概念隐喻的视角对舒婷诗歌中的意象进行解读,可以帮助读者深入文本内部,对舒婷诗歌的内在意蕴产生更深刻的认知。本文在概念隐喻理论的视角下对舒婷诗歌中的花类意象从花是人、花是精神、花是生命经历三个方面进行了认知解读,对前人的研究进行补充的同时,为舒婷诗歌中花类意象的深入解读提供了一个新的角度。 Shu Ting’s poems attach importance to the expression of personal feelings and show concern for individual value. Although this was not in line with the mainstream ideology of the times, Shu Ting’s poetry did not carry out direct confrontation and rebellion, but radiated the external world through the observation of inner feelings. In this creative process, the poet uses rich images and makes these images multi-directional through metaphor. Based on this, interpreting the images in Shu Ting’s poetry from the perspective of conceptual metaphor can help readers go deep into the text and have a deeper understanding of the internal meaning of Shu Ting’s poetry. From the perspective of conceptual metaphor theory, this paper makes a cognitive interpretation of the flower image in Shu Ting’s poetry from three aspects: flower is human, flower is spirit and flower is life experience. While supplementing previous studies, it provides a new perspective for the in-depth interpretation of the flower image in Shu Ting’s poetry. In Shu Ting’s poetry, a plump flower image is constructed through conceptual metaphor, the cognitive domain of flower image is expanded, the internal tension of flower image is enhanced, and it presents people’s inner demands in the context of the new era on the basis of classical significance, which has modern significance. By analyzing the conceptual metaphor of flower images in Shu Ting’s poetry, we can deeply understand the multiple aesthetic connotation of Shu Ting‘s poetry.

李白海意象诗歌中的用典研究

??明(Huang, Yue ming),金昌?(Kim, Chang gyeong) 동북아시아문화학회 2023 동북아 문화연구 Vol.1 No.77

LiBai was educated by the traditional Confucians in the manner of “exam-oriented education” at that time. His early poetry creation was based on various principles and rules of poetry creation. Due to the sufficient foundation and nutrients from his childhood learning, he was skillful to master various creative materials. These rich materials and nutrients are called “allusions”. Significant differences existed among different poets in the selection and use of allusions, even for the same poet, the allusions used in different periods, genres, and content were also different. Li Bais frontier poems and palace poems often contain allusions from the Han Dynasty; After the An Shi Rebellion, Li Bai often used allusions from the Warring States period and the conflict between Chu and Hand; When writing about the relationship between mountains and rivers and poetry and wine, Li Bai often used the classics of famous scholars from the Wei, Jin, Northern and Southern Dynasties periods; When writing about exile and setbacks, Li Bai often used allusions from Qu Yuan and Jia Yi. Li Bais sea-imagery poems account for 24% of his total poems, covering most of his life experiences, and also involving many themes and content. This article targets and conducts a classification study on the allusions in Li Bais sea-imagery poems. According to the sources of allusions, there are 27 poems that quote “Ji Bu” the most in “Jing, Shi, Zi, Ji”. On top of all, they are associated with “sea”, the most commonly used character allusions are related to myths, immortals, and legendary figures, followed by reclusive political figures. Based on the statistics, a total of 109 poems of Li Bais 254 Sea-Imagery poems use allusions. This article conducts a typological analysis of the allusions used, so as to explore their aesthetic role in poetry, as well as the cultural density and spiritual expression they represent.

試論彥火散文的人文情懷 - 以遊記散文為中心

왕러 한국외국어대학교 중국연구소 2019 中國硏究 Vol.79 No.-

Yan Huo is a famous contemporary Chinese essayist, a well-known publisher in Hong Kong, and a book. With his unique vision and temperament, he created a collection of poetry, philosophical and literary styles that are different from other writers' prose styles. The lack of academic research can not conceal his deep thoughts, and can not hide the value of Yan Huo in the history of contemporary Chinese prose. Thesis writing tells the humanistic feelings of Yan Huo's prose from two aspects. Firstly, it analyzes Yan Huo's travel essays from the cultural perspective of geography. Taking the image of the sea as an example, we see that Yan Huo writing context is a different country and region. The cultural cross-cutting space composed of different cultures, the compatibility of this multi-culture in the travel notes constitutes the unique writing context of Yan Huo - the context of multi-ethnic cultural rendezvous. His essays present a tendency to appreciate the universal civilization of human society across geospatial spaces. Secondly, we see that Yan Huo has shown a wealth of homeland consciousness in many travels. Like many “local writers”, he has produced the anxiety and embarrassment of “lost home”, but unlike many “local writers”, he Instead of confronting the urban-rural duality to express the feelings of nostalgia and criticizing the value missteps brought about by industrial civilization, it is to transcend the "homeland" of the concept of geography and culture and consciously turn to the pursuit of "spiritual homeland". As a good writer, these complexities and diversity in his work deserve further attention and research. 彥火是中國當代著名散文家,香港知名出版家,著作等身。他憑借獨特的眼光和氣質創造了集詩情、哲思以及文學性為一體的不同于其他作家的散文風格,獨樹一幟。學界的研究的缺失無法掩蓋他深邃的思想光芒,更不能遮蔽彥火在中國當代散文史上的價值。論文寫作從兩個方面來講述彥火散文的人文情懷,首先,跨地理空間的文化角度來分析彥火的遊記散文,以海的意象為例,我們看到彥火寫作語境是一個由不同國家和地區、不同文化構成的文化交叉空間,遊記中這種多種文化的相容性就構成了彥火獨特的寫作語境——多民族文化交會的語境。他的散文呈現出跨越地理空間的一種欣賞人類社會普世文明的傾向。其次,我們看到彥火在許多遊記作品中表現出豐富的家園意識,與許多“鄉土作家”一樣他曾産生“失去家園”的焦慮與彷徨,但是他不同于許多“鄉土作家” 的是,他沒有將城鄉二元對立起來去抒發對懷鄉之情進而批判工業文明帶來的價值失範,而是超越地理文化概念上的“家園”,自覺地轉向對“精神家園”的追求。 作為一名優秀的作家,他作品中的這些複雜性與多元性值得進一步被關注和研究。