진(秦)ㆍ한률(漢律)의 서인(庶人) -서인범칭설(庶人泛稱說)에 대(對)한 비판(批判)-

林炳德 ( Lim Beong Duk ) 중국사학회 2020 中國史硏究 Vol.0 No.125

Through the Sui HuDi Qin Bamboo Manuscripts睡虎地秦簡 which was exhibited on late 1970s, we could find out a lot about the characteristic of Qin Dynastics’s slave and a person who have the noble title. From the book, we found about Shi Wu士伍 and also the actual condition of subordinate people which I will talk about on my dissertation. By the legal text of year 2, newly unearthed at Zhangjia-shan, Jiangling江陵張家山漢簡二年律令 we could research about Sui Hu Di Qin Bamboo Manuscrpts 睡虎地秦簡 more precisely. The research was based on Qin legal text秦律. It described about Shi Wu士伍 that they were treated very importantly but by the legal text of year 2二年律令, we could find more about them. Especially, On the legal text of year2 has contents about ShyRen庶人. The legal text of year 2二年律令 call the common people as Gong Zu公卒, Shi Wu士伍 or Shu Ren庶人. Common people did not have noble title. Gong Zu公卒, Shi Wu士伍 and Shu Ren 庶人 were part of common people but they had difference by the law. Shu Ren 庶人people were lower class than Gong Zu公卒 and Shi Wu士伍. On the legal text of year 2 二年律令, it says that there is big difference between Gong Zu公卒, Shi Wu士伍 and Shu Ren庶人. For instance, on the book it mentions about Gong Zu公卒 and Shi Wu士伍 getting Yu Mi 鬻米. ShuRen庶人 had not been offered Yu Mi 鬻米at all. Gong Zu公卒 and Shi Wu士伍 even got Shou Zhang受杖 which is a symbol of power and wealth. Shu Ren 庶人did not get this either. The obvious differences between Gong Zu公卒, Shi Wu士伍 and ShuRen庶人 can also be found in The Bamboo Slips of the Qin Dynasty Collected in Yuelu Academy嶽麓秦簡. Gong Zu公卒 and Shi Wu士伍 may be appointed to LiDian里典 and Fulao父老, but ShyRen庶人 was excluded from the list of candidates for the appointment. From this point of view, even the a man of no title can see that there is a clear difference between the Gong Zu公 卒, Shi Wu士伍 and ShuRen庶人. Except for Qin and Han's legal 秦漢律, no case can be found that nothing is defined as Gong Zu 公卒, Shi Wu士伍 and Shu Ren庶人. In that respect, The Shu Ren庶人 of Qin and Han's legal秦漢律 was clearly different from Shu Ren庶人 of the previous era. The Shu Ren庶人 of Qin and Han's legal秦漢律 is a special name. The Shu Ren庶人 of Qin and Han's legal秦漢律 is hard to grasp by the people's concept. Regardless of the times, the general concept of the Shu Ren庶人 we speak of is closer than a Shi Wu士伍 in Qin and Han's legal秦漢律. Why does Unearthed bamboo slips of Liya里耶秦簡 have the word "Shi Wu士伍" instead of "Shu Ren庶人" in the terms of a universal identity?

漢代 ≪尙書≫의 전수와 桓氏 一家의 역할

남영주(Nam, Young-Joo) 동아인문학회 2021 동아인문학 Vol.56 No.-

본 연구는 양한 시기 ≪상서≫에 대한 지식을 기반으로 관료로 진출한 경학지사(經學之士)가 대대로 경전의 전수를 통해 경학세가(經學世家)로 성장하는 과정을 환씨 일가(桓氏 一家)를 통해 살펴보았다. 이를 통해 한대 경학세가의 역할과 ≪상서≫의 위상에 대해 규명할 수 있었다. 한초부터 ≪상서≫는 현실 정치에 적극적으로 활용되었다. ≪상서≫는 황제 중심의 지배 체제를 구축하는데 이론적 근거가 되었고, 황제의 행위와 당시 발생했던 자연 현상 등을 매우 적절하게 설명하였다. 특히 황태자가 수학해야 하는 경전이었다. 이러한 배경에 의해 ≪상서≫를 익힌 유생들은 활발히 관료로 진출할 수 있었고 경전의 전수도 확대되었다. ≪상서≫를 전수한 대표적인 경학세가는 구양씨 일가와 하후씨 일가였다. 이들 문하의 유생들은 전・후한시기 경학지사 또는 경학세가로 활약하였다. 특히 구양씨와 하후씨의 ≪상서≫를 전수한 유생들은 선제 시기 경전의 동이(同異)를 토론하기 위해 열린 석거각 회의에 참석하여 대・소하후씨가 전수한 ≪상서≫에 박사가 설치되는데 이바지하였다. ≪상서≫는 후한을 건국한 광무제에 의해 구양씨(歐陽氏)와 대・소하후씨(大・小夏侯氏) 학(學)에 다시 박사가 설치되었다. 광무제는 경전을 부흥하여 인재를 모으고 유학을 중심으로 사상을 통일하려 하였다. 후한에는 구양씨가 전수한 ≪상서≫가 발전하였는데 박사에 임명된 대표적인 인물은 환영(桓榮)이었다. 환씨 일가는 3대가 모두 황제의 사부로서 ≪구양상서≫를 가학(家學)으로 전수하고 제자를 양성하였다. 이처럼 환씨 일가는 후한 시기 동안 황제들의 사부(師傅), 유생들의 경사(經師), 관학의 기능을 대신하는 교육 기관으로서의 역할을 수행하였다. 이러한 역할로 인해 환씨 일가는 전・후한을 대표하는 경학세가로 평가받을 수 있었다. 전・후한 시기 ≪상서≫는 왕조의 정통성과 황제의 정치 행위를 설명하는 이론서였으며, 황태자 교육을 위한 필수 경전이었다. 이에 경전을 익힌 유생들의 활발한 관료 진출이 가능하였고 그 결과 경전을 가학으로 전하는 경학세가가 출현할 수 있었다. 후한을 대표하는 경학세가인 환씨 일가는 관료와 경사로의 역할을 수행하면서 정치 문화를 주도하였다. This study examines the process of Confucian scholars who entered the bureaucracy based on their knowledge of the Han Dynasty Shang Shu(尙書) and grew up to the the confucian classics(經學世家). The object is Huan’s family. Through this study, it was possible to know the role of he the confucian classics in the Han Dynasty and the status of Shang Shu. From the early days of the Han Dynasty, Shang Shu was actively used in politics. It served as a theoretical basis for establishing a system of imperial rule. And the actions of the emperor and the natural phenomena that occurred at that time were well explained. In particular, it was the sutra that the Crown Prince had to study. With this background, Confucian students who studied Shang Shu were able to advance into bureaucracies. Representative the confucian classics that inherited Shang Shu are Ouyang’s family and Xiahou’s family. These disciples were active during the Han Dynasty period the confucian classics. Gwangmuje, who founded the late Han Dynasty, revived the scriptures, gathered talented people, and unified ideology centered on Confucianism. The confucian classics representing the late Han Dynasty is Hwanghoon (桓榮) The Huan’s family served as a teacher and educational institution for the emperor and Confucian scholars during the Han Dynasty. Because of this role, the Huan’s family could be evaluated as an the Confucian classics representing the Han Dynasty.

『삼국지연의』의 신화적 모티프 수용

김옥란 단국대학교 동양학연구원 2009 東洋學 Vol.45 No.-

Luo Guanzhong (between last days of Yuan Dynasty to early days of Ming Dynasty) created a historical novel, ‘Romance of the Three Kingdoms’, which is known as one of the Four Great Classical Novels of the Ming Dynasty. So long it has been regards as a kind of political textbooks. ‘Romance of the Three Kingdoms’ is a book which is written more fromhistorical materials. Hence it contains historical events and strange fantasy scenes. In order to establish Shu Han Dynasty’s legitimate status, the author has used a large number of myths to describe the background of novels, characters and the death of the main characters. The novel’s first chapter describes the social background, makes the establishing opportunity of Han Dynasty established by Liu Bang be a myth, and uses thefantastic natural phenomena to describe the decline of the Eastern Han Dynasty, and at last makes the process of Huang Jin uprising be a myth. When describing the portaits of two shu-han dynasty this novel also uses the mythical way. Guan Yu is the embodiment of loyalty and the perfect hero. Maybe the image of Guan Yu is a prototype of God like an ancient myth. He looks like a god, as well as there is a myth ““Guan Yun-chang breaking Chi You” that spead in the folk society. The common people regard Guan Yu as a national hero to believe. Zhu Ge-liang, also named Wo-Long, his wife is ugly but she has a remarkable talent. This kind of description also contains the color of myths. Mao Zong-gang has said “Wuhou is a god in the heaven, your wife also is a god in the heaven.” It also is obvious that this comments will deified Zhu Ge-liang Liang. Liang gets a god book from a strange man and understands the mystery of that book according to his remarkable talent. After that he obtains superhuman capacity to observe stars and predict people’s fate. Guan Yu and Zhu Ge-liang after dyingbecame gods to save Shu-Han Dynasty out of danger and protect Shu-Han Dynasty’s people. The fictional fragments of the myth scatter throughout the text. But if these fragments get to sorted out they will be able to form a new mythical system. The mythical methods used in this novel not only improve its literary value, but also form the one of reasons why “Romance of the Three Kingdoms’ is popular in East Asia. Now this novel has been widely used as movies, cartoon, animation, games and even English learning. It is completely proven the influence of the novel. 元末明初 나관중이 편찬한 『삼국지연의』는 四大奇書의 하나이다. 歷史를 바탕으로 하여 演義라는 형 식으로 구성된 『삼국지연의』는 진실하면서도 환상적으로 群雄逐鹿의 장면을 기술하고 있다. 이 소설은 배경설정과 인물형상에 신화적 모티프를 널리 수용하고 있다. 이것은 주로 촉한의 두 주요인물에게서 더 욱 두드러진다. 忠義의 화신인 관우는 주로 고대신화의 吉神이 모델로 되어 민간에 유전되고 있는 「關雲 長大破蚩尤」 신화·전설 등에서 자양분을 얻었던 것으로 파악된다. 또 臥龍인 諸葛亮은 주문을 외우고 비와 바람을 부를 수 있으며, 별자리를 보고 인간의 命運을 점지해 내는 神으로 묘사하고 있고, 그의 아 내도 이러한 면을 보이고 있다. 또한 관우와 제갈량은 죽은 뒤에도 혼으로 되어 촉한의 장수를 구해주는 것은 물론 백성들을 보호하고 있다. 이 소설은 촉한의 영웅과 간웅 조조를 대비하여 묘사함으로써 영웅 을 돋보이게 하는 미학적 장치를 지니고 있다. 이 소설에서 수용한 이러한 신화적 모티프들은 순수한 허 구임에도 불구하고 문학적 가치를 높이는 데 큰 기여를 하고 있다. 『삼국지연의』의 주요 스토리들은 현재 다매체 문화콘텐츠와 결부된 현대적 수단을 활용하여 영화, 드 라마뿐 아니라 게임, 영어 학습에까지 널리 파급되고 있다. 본고에서 이 소설의 신화적 모티프의 수용을 살피는 것은 『삼국지연의』의 연구방법을 확장하는 일이면서 특정 텍스트가 오랫동안 각광을 받았던 이유 를 해명하는 과정이기도 하다.

중국 고대 국가의 藏書制度와 역사서의 편찬 : 漢代의 藏書制度를 중심으로

방향숙(Pang, Hyang-sook) 한국사학사학회 2012 韓國史學史學報 Vol.0 No.26

This study investigated how historical materials (Si Liao, 史料), the national documents and books that were utilized in the edition of ancient history books, contributed in compiling history books by exploring the process of creation and ways to store and browse relevant materials. ‘collection system (藏書制度)' is defined as the system of collecting, storing and browsing documents or books throughout this study. Although the study is mainly based on Han (漢) Dynasty, it also consulted Wei Jin Nan Bei (魏晉南北) and Sui Tang (隨唐) Dynasty to compare the process of development. Sima Qian (司馬遷) was the first person to describe not only the records of Kings, but also various aspects of society. He applied diverse sources of historical materials other than national records to 『Shi Ji (史記)』. As it is well known, since his position in the office was Tai Shi Ling (太史令), whose duty was to manage national documents and books, he was able to access to and utilize various historical materials. There were many divisions in the office to manage Collection(藏書) during the early Han Dynasty, when Sima Qian wrote Shi Ji. Jin Gui (金櫃) and Shi Shi (石室), which stored important national documents and Tai Shang (太常), Tai Shi (太史), Bo Shi (博士) which belonged to Wai Chao (外朝) were those. Also, Yan Ge (延閣), Guang Nei (廣內), Mi Shi (秘室), Tian Lu Ge (天祿閣), Shi Qu Ge (石渠閣), Lan Tai (蘭臺), Qi Lin Ge (麒麟閣), and etc., were placed within the Palace. Sima Qian was able to cover all materials of those divisions. Since he was able to access to the most valuable documents that were stored in Jin Gui and Shi Shi, he would have been able to study other materials as well. Furthermore, because Tai Shi Ling was the first person to receive national documents to be delivered to the upper level, it was easier for him to reflect them to the books. However, compared to the early Han Dynasty, the scale of Collection facilities was trimmed in the late Han Dynasty. Among Pi Yong (辟雍), Dong Guan (東觀), Lan Tai (蘭臺), Shi Shi (石室), Xuan Ming (宣明), Hong Du (鴻都), and etc., relevant divisions of late Han Dynasty, Pi Yong and Hong Du stored educational books including Jing Dian (經典). Many history books were written in Dong Guan. Since its original function was an educational institution like Tai Xue (太學) and Hong Du, the reason why many books were written here was to compel famous scholars (Ming Ru, 名儒) to stay in Dong Guan to edit books. On the other hand, since official documents of the nation were all gathered in Lan Tai, where 『Han Shu (漢書)』 was written, Lan Tai had advantages to edit history books. Even so, it was not necessary to retrieve many books because it did not cover the whole history. After late Han Dynasty, the secretaries (Mi Shu, 秘書) were in charge of storing books, and historical presentations were done under their order or transferred to the division of authorship (Zhu Zuo 著作), which was separated from the division of secretaries. Sima Qian, as a Tai Shi Ling, was in charge of astronomy and calender. Since he managed documents and received documents to be delivered to the upper level as well, he was not only the editor, but also the manager of historical materials. However, because history books were written by nearsighted officials of the Emperor or by the official divisions belong to the Dynaysty, the opinions of the Emperor were reflected more to the books after late Han Dynasty. This was why the edition and contents of history books were strongly interfered by the Emperor, which hindered frank presentations of history. During this procedure, Collection facilities of many dynasties were assembled into the palace. This was also for the government to compile the history books. Divisions of Collection, which collected and managed books began to merge as time passed―Mi Shu Sheng (秘書省) or Ji Shu Sheng (集書省) was in charge of both storing and arranging documents. 이 글에서는 고대 역사서 편수에 활용되었던 문서나 도서들의 생성, 즉 사료의 생성과정과 이를 정리 보관하는 방법 및 열람의 방법을 탐색하여 이 국가 문서들이 역사서의 편찬에 어떻게 활용되었는지 알아보았다. 문서나 도서를 수집하여 보관, 열람하는 제도를 이 글에서는 ‘藏書制度’라고 표현하고자 한다. 이 글의 연구 시기는 주로 漢代를 중심으로 하되 이후의 변화를 비교하기 위하여 위진남북조·수·당대를 포함하였다. 역사서에 왕들의 기록만이 아닌 다양한 사회상을 서술하기 시작한 사람은 사마천이다. 『사기』를 저술하기 위해서 사마천이 활용한 사료는 국가의 공식적 기록 외에도 다양했다. 잘 알려져 있듯이 사마천은 태사령이라는 관직을 지내면서 국가의 문서도적을 관리하는 일을 담당하였기 때문이 다양한 사료를 접하고 활용하였던 것이다. 사마천이 『사기』를 저술하였던 전한대에는 많은 장서부들이 있었다. 우선 국가의 중요문서를 보관하던 금궤(金櫃) 석실(石室)부터 외조(外朝)에 있던 태상(太常), 태사(太史), 박사(博士) 관부의 장서가 있었다. 또 궁전 내에는 연각(延閣), 광내(廣內), 비실(秘室), 천록각(天祿閣), 석거각(石渠閣), 난대(蘭臺), 기린각(麒麟閣) 등이 있었다. 사마천은 이 장서부들의 전적을 모두 섭렵할 수 있었을 것이다. 가장 귀중본을 보관하는 금궤석실의 문서를 열람할 수 있었다고 하니, 다른 장서들을 보는 것도 불가능하지 않았을 것이다. 또한 태사령에게는 군국의 상계문서가 가장 먼저 전달되어 군국의 사정을 그대로 역사서에 반영할 수도 있었다. 그러나 전한대에 비해 후한의 장서시설은 축소되었다. 벽옹(辟雍), 동관(東觀), 난대(蘭臺), 석실(石室), 선명(宣明), 홍도(鴻都) 등이 후한대의 장서부인데, 이 중 벽옹, 홍도 등은 교육을 펼치는 곳으로 전적이 있었다 하더라도 경전을 위주로 한 전적이 보관되어 있었을 것이고, 동관은 역사서가 저술된 곳이기는 하지만 본래의 기능이 태학이나 홍도와 같은 교육 장소였기 때문에 이곳에서 역사서를 저술하였던 이유는 名儒들을 머물게 하여 찬수하려는 것이었다. 한편 『漢書』가 저술된 난대는 국가의 공문서가 모이는 곳이었으므로 난대에서의 사서의 찬수는 유리한 점이 있었을 것이다. 하지만 이때는 통사를 저술하는 것이 아니었으므로 많은 전적을 열람할 필요는 없었을 것이다. 후한 이후 전적의 보관은 비서에서 전담하고 역사서술이 비서령에 의해서 이루어지거나 비서성에서 분파된 저작성 등으로 이관되었다. 또한 사마천의 경우는 그 자신 태사령으로써 천문, 역법을 관장하였고, 문서관리를 담당하였을 뿐만 아니라 상계문서도 수신하였으므로 스스로 사료를 생성하고 관리하였다고 볼 수 있다. 그러나 후한 이후에는 주로 황제의 근시지관이나 내조에 속한 관부에서 주로 역사서를 저술하였으므로 군주의 의사가 쉽게 반영될 수 있었다. 이에 따라 사서의 편찬과 사서의 내용은 군주의 강력한 간섭 속에서 이루어질 수밖에 없었으며, 이는 자유로운 역사서술을 방해하였다. 이 과정에서 역대 왕조의 장서시설은 점차 궁정 안으로 집결되었으며 이 또한 관찬역사서의 찬수를 위한 것이라고 할 수 있다. 또한 후대로 갈수록 전적으로 모으고 관리하는 장서부가 통합되어 갔다. 秘書省이나 集書省으로 문서의 보관과 정리가 단일화되면서, 관리라는 측면에서는 효율적이었을지 모르지만, 다양한 역사서의 저술은 어려워졌다.

당대(唐代) 서승(書僧) 고한(高閑)의 서예(書藝)와 역대의 평가

禹在鎬 영남중국어문학회 2019 중국어문학 Vol.0 No.82

In the Tang Dynasty, there were many monks who had knowledge and cultural literacy: monk poets(Shi seng) who wrote poems well; monk painters(Hua seng) who painted pictures well; and monk calligraphers(Shu seng) who were excellent in calligraphy. There are countless monks of the Tang Dynasty who were well known as monk calligraphers. Among them, Huai Su and Gao Xian are the representative monk calligraphers of the Tang Dynasty. As a second review on the monk calligraphers of the Tang Dynasty, this study, first, briefly introduces Gao Xian’s life and calligraphy. Next, this study analyzes the literary works of the Tang Dynasty that sang and evaluated Gao Xian’s calligraphy and the poems of the Tang Dynasty, as well as the evaluations of Gao Xian’s calligraphy by the literary men since the Tang Dynasty. Some discriminating features in the evaluations of Gao Xian’s calligraphy are as follows: Extreme praises and criticisms exist at the same time; the praises and criticisms of Gao Xian’s calligraphy are compared with those of Zhang Xu’s and Huai Su’s; the evaluations since the Tang Dynasty were very much mediated by Han Yu’s Farewell speech for monk Gao Xian. Although, unlike Zhang Xu and Huai Su, extreme praises and criticisms exist for Gao Xian’s cursive script, the fact that Gao Xian is compared with Zhang Xu or Huai Su, who were representative cursive script calligraphers in the Tang Dynasty, demonstrates the excellence of Gao Xian’s cursive script, who was the representative cursive script calligrapher in the Late Tang period.

天人關係에 대한 漢人의 인식 ― 『漢書』「五行志」역주 ―

권민균 중국고중세사학회 2019 중국고중세사연구 Vol.54 No.-

“Five elements” refers to the “wood, fire, Iron, water and soil” that modern people are familiar with Perhaps, what kind of meaning does this seemingly simple “five elements” have for the Han people? It serves as a part of the “Zhi[志]” that must be explained when explaining the Han society? And what kind of influence does it have on the subsequent history? For this question, it is difficult to answer it happily But we can be sure that this “five elements” is not only in Chinese history, but also exported to East Asian countries, playing an important role in people's ideas. This “five elements theory” is a necessary field for the study of people's behavior patterns in that era, but its translation and research are insufficient. “Wuxingzhi” in Han Dynasty can be said to be a reservoir of “five elements theory”, as Liang Qichao said, “in the past two thousand years, deeply rooted in everyone's psychology, dominating everything in human affairs”, the study of the five elements theory of the past dynasties should start from the Han Dynasty.

한화상석(漢畫像石)의 용호좌(龍虎座)에 드러난 서사 다시 읽기 ― 사천(四川) 출토 서왕모(西王母) 도상을 중심으로

유강하 중국어문학연구회 2019 중국어문학논집 Vol.0 No.118

This article explores how the collision, conflict, and unity had expressed when different myth, religion, and narrative meet on the pictorial stone during Han dynasty. In this study, I tried to interpret the meaning of the 'Xi-Wang-Mu on the seat of dragon-tiger'(西王母龍虎座), which is the characteristic of the pictorial stone of Si-Chuan area, from the perspective of iconology analysis. During Han dynasty, Han people and indigenous people lived together in Ba·Shu(巴蜀) area, but they did not coexist peacefully. The Han people were in a position to govern, and the indigenous people were in a position to be ruled. This interconnection is appeared on the pictorial stone. The icon of ‘the seat of dragon-tiger with Xi-Wang-Mu’ is a combination of ‘Xi-Wang-Mu’ and the ‘seat of dragon-tiger’. ‘Xi-Wang-Mu on the seat of dragon-tiger’ is the result of the integration of Xi-Wang-Mu, who was worshipped by Han people, and the dragon· tiger totem, which was worshipped by indigenous people of Ba·Shu area. But this integration is a unbalanced combination. The dragon and the tiger, which have been the totem of the native people, appear to be in the position of the supreme divinity, but in the end it is nothing more than a role of a "seat" for the Xi-Wang-Mu. The icon of ‘'Xi-Wang-Mu on the seat of dragon-tiger’ is a politically designed combination, and is the result of the Han people's desire to dominate the indigenous people.

진(秦)ㆍ한률(漢律)의 내형(耐刑)과 사구(司寇)

林炳德 ( Lim¸ Beong Duk ) 중국사학회 2021 中國史硏究 Vol.- No.134

In this paper, there was an attempt to analyze Nai耐 shown in Qin and Han's legal, which was basically to judge Nai耐 as Nai Wei Si Ku耐爲司寇 or Na Yi Li Chen Qie耐爲隷臣妾 by comparing the punishment regulations of Nai Wei Li Chen Qie耐爲隷臣妾 and Si Kou's case. Qin and Han's regulations on punishment are almost clear, and it is questionable whether only Nai耐 can know whether Nai Yi Si Kou耐爲司寇 or Nai Wei Li Chen Qie耐 爲隷臣妾 only through such a difficult interpretation process. I tried to set a new standard in this paper, the viewpoint that there were clear and simple standards that anyone could easily grasp at the time. The punishment provisions of Qin and Han's legal are very clearly stipulated almost unquestionably, and only Nai耐 must go through such an intricate interpretation process. From the point of view that there was a clear and simple standard that could be easily grasped by any official at that time. Through the case of punishment for Nai Wei Li Chen Qie耐爲 隷臣妾, I emphasized that the grounds for punishment for Nai Wei Li Chen Qie耐爲隷臣妾 were theft, beating, prisoners of war, injury, inheritance, and desertion, and that at least there were no cases of punishment for misconduct related to the public. Perhaps the crime is Nai Wei Li Chen Qie耐爲隷臣妾, and if the punishment related to the public official, especially the punishment for management related to management, Nai耐 is likely to be Nai Wei Si Ku耐爲司寇. In other words, Nai Wei Si Kou耐爲司寇 was considered to have different types and targets of punishment as punishment for general crimes other than Nai Wei Li Chen Qie耐爲隷臣妾. In addition, this paper attempted a new interpretation of the characteristics of Si Kou司寇 and Zuo Ru Si Kou作如司寇, which had been controversial for a long time, through examples of simple reading documents excavated. In this paper, it was emphasized that if Si Kou is divided into male and Zuo Ru Si Kou作如司寇 is interpreted as female, the relevant sentences of The Legal Text of Year 2二年律令 and Han Shu Xing Fa Zhi漢書刑法志 are contradictory. Based on The Legal Text of Year 2二 年律令 and The Bamboo Slips of the Qin Dynamic Collected in Yuelu Academy岳麓秦簡, if I look at Zuo Ru Si Kou作如司寇, this is correspond to Cheng Dan Si Ko城旦司寇 and Chong Si Ku舂司寇 and Cheng Dan Chung Si Ku城旦舂司寇.

일본 오가타가尾形家 소장 강희안(姜希顏)의 묵죽도(墨竹圖) 모사본(模寫本)에 대한 연구

박은순 ( Park Eunsoon ) 온지학회 2021 溫知論叢 Vol.- No.66

본 연구에서는 일본 에도시대 중 규슈 후쿠오카한에 소속되어 활동한 대표적인 어용화가집단인 오가타가에 전해진 묵죽도 모사본에 대하여 논의하였다. 오가타가에는 4700 여점이나 되는 회화자료들이 현재까지 전해지고 있는데, 그 중 『增訂古畫備考』 「高麗朝鮮書畫傳」에 실려 있는 것과 같은 畫題가 기록된 묵죽도가 포함되어 있다. 본 연구에서는 이 묵죽도와 「고려조선서화전」의 기록을 면밀하게 비교, 검토하면서 묵죽도에 관련된 주요한 사실들을 구명하였다. 오가타가는 에도가노江戶狩野派의 문하에서 학습하고 가노파의 관습을 따르던 화파였다. 에도가노파의 창시자인 가노 단유狩野探幽는 회화감정가이자 화가로서 활동하면서 수많은 중국, 일본, 한국 그림들을 보았고, 중요한 작품들을 모사한 축도를 만들어 畫本으로 삼거나 전수하는 관례를 만들어 이후 가노파 화가들에게 큰 영향을 주었다. 지방에서 활동하던 오가타가에 소장된 회화자료들도 이러한 성격의 자료들로 여겨지고 있는데 그 중 묵죽도가 포함되어 있는 것이다. 이 묵죽도는 강희안의 묵죽도 원본을 보고 그린 축도로 여겨지는데, 일본에서 이 작품이 중요하다고 인식되고 축도로서 제작된 것은 에도시대 중에 북송 소식의 작품으로 전래되었기 때문일 것이다. 오가타가의 묵죽도에는 제화시가 기록되어 있는데 제시의 끝 부분에 ‘剛中’이라는 기록이 있다. 그런데 『증정고화비고』 「고려조선서화전」에 ‘강중’이란 항목이 있고, 여기에 오가타가의 묵죽도에 기록된 것과 같은 시가 수록되어 있다. 「고려조선서화전」에는 이 시와 함께 두 작품에 대한 구체적인 설명과 다른 한 작품에 대한 제시가 포함되어 있고, 두 작품이 조선 국왕의 수장품이었다고 기록되어 있다. 이 기록을 통해서 이 작품이 한국 작품이라는 사실을 알 수 있다. 강중이란 인물은 15세기에 활동한 유명한 사대부 문인인 徐居正이 강중이란 자를 사용하였음을 확인하였다. 또한 오가타가의 묵죽도에 기록된 제시 중에 菁川이라는 용어가 나오는데, 이 청천이 조선 초의 사대부화가 강희안의 別號이고, 서거정과 강희안이 막역하게 교류하였으며, 서거정이 강희안의 대나무 그림에 대해서 여러 번 기록하였다는 사실도 확인하였다. 강희안은 조선 초의 대표적인 사대부화가로서 시서화 삼절로 높은 평을 받았다. 서거정의 제시에는 강희안의 작품을 趙孟頫에 비교하는 내용이 포함되어 있고, 조선 전반기에 松雪體가 유행하였을 뿐 아니라 조맹부의 죽도에 대한 기록들도 적지 않게 전해지고 있다. 오가타가의 묵죽도 모사본은 조맹부의 죽도와 화풍 상 유사점과 차이점이 있다. 한편 오가타가의 묵죽도 모사본이 구성과 소재, 필묵법, 石法등에 있어서 조선 중기 묵죽의 대가인 李霆의 작품과 화풍상 유사점이 있어 보이는 점도 특기할 만하다. 본고에서는 일본에 전하는 강희안 관련 묵죽도 모사본을 발굴하여 여러 기록과 비교, 고찰하면서 이 작품이 일본에 전래된 조선 초기 묵죽도를 토대로 제작된 작품이고, 구체적으로는 강희안의 묵죽도와 관련이 있다는 사실을 구명하였다. 앞으로 이를 토대로 조선 초기 묵죽도 및 강희안의 묵죽도에 대한 연구가 진행되기를 기대한다. The Ogata family is an official painter group served for the Hukuoka han in the present Kushu area during the Edo period. The family inherited 4700 pieces of painting materials to this day. The collection includes an ink bamboo painting inscribed with poetry that is also enlisted in the Revised Version of the Record of Old painting ,“Records on the painting and callifgraphy of Koryo and Joseon Dynasty”. This study compares and analyzes the poetry written on the bamboo painting and the records in“Records on the painting and callifgraphy of Koryo and Joseon Dynasty”. The founder of the Edo Kano school, Kano Tanyu was an appraiser and a painter. He invented an artistic convention of making small copies of important paintings and used them as painting manuals. Paintings of China, Japan, and Korea that Kano Tanyu had recorded were descended upon painters of the Kano school, influencing them significantly. Since the Ogata family belonged to the Edo Kano school, they followed the tradition and teachings of the Kano school. Therefore, painting materials kept by the Ogata family, including their collection of an ink bamboo painting, also display the above mentioned characteristics of the tradition of Kano school. This ink bamboo painting, a sketch copies a work by Gang Huian, a famous Korean literary painter active in the 15th century. It was recognized as a significant piece of painting during the Edo period in Japan, because it was mistakenly perceived as a painting by Shu Shi of the Nothern Sung dynasty. The poetry written on the ink bamboo painting possesed by the Ogata family includes the term ‘Kangjung’. Interestingly,“Records on the painting and calligraphy of Koryo and Joseon Dynasty”in the Revised Version of the Record of Old painting , written in the 19th century, contains the‘Kangjung’ catagory, and upon it records the identical poetry. Kangjung is the Korean literary bureaucrat Seo Geojeong, who was active in the 15th century. The term of‘Cheongcheon’, was included in the record of “Records on the painting and calligraphy of Koryo and Joseon Dynasty” and the poetry in the Ogata family’s bamboo sketch. The fact that the term is a Gang Huian’s hao, a pen name is also confirmed. Seo Geojeong and Gang Huian, two representative literati in the early Joseon period, interacted closely, and Seo Geojeong recorded multiple times on Gang Huian's bamboo paintings. Gang Huian often represented paintings of bamboo. Seo Geojeong compared Gang Huian’s bamboo with Chao Mengfu, a famous literary painter of the Yuan Dynasty. Chao Mengfu’s style of calligraphy was popular in the early Joseon period and Gang Huian was excellent in that calligraphic style. More than few recordings of Chao Mengfu’s bamboo painting still remain. However, the bamboo painting of the Ogata family show similarities and differences when compared with Chao Mengfu’s bamboo paintings. Meanwhile the fact that the ink bamboo painting of the Ogata family exhibits stylistic characteristics of Yi Jeong, a master of bamboo painting who was active in the early 17th century Joseon, in terms of composition and motives, techniques of brush and ink, and the way of describing stones, is also worthy of taking notice.

남송(南宋) 문인의 삼국(三國) 역사관 고찰 -촉한(蜀漢) 정통론과 인물 담론을 중심으로

최석원 ( Choi Seok-won ),김보경 ( Kim Bo-kyung ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.75

This article is to confirm various discourses of Records of the Three Kingdoms from authentic history, Records of the Three Kingdoms up to Romance of the Three Kingdoms and to investigate the historical view on three kingdoms of the scholars in South Song dynasty as a kind of investigation on the cultural meanings. As Song dynasty showed the obvious difference on the historical view for Three Kingdoms between North and South Song, it was the period to shift from legitimism of Cao Wei in North Song that attached the importance of trend and shape to legitimism of Shu Han that attached the importance of justice and faith. Hence, the establishment courses of Shu Han legitimism were reviewed and its facts that the scholars in South Song dynasty established were investigated in this study. In addition, we reviewed the evaluations on the characters in Three Kingdoms by Cao Cao, Liu Bei, Zhuge Liang, and Xun Yu. The scholars in North Song Dynasty tried to evaluate them in view of practicality differentiating from public and private matters clearly, while those in South Song Dynasty established the framework of the virtue and the vice by Liu Bei and Cao Cao. They described Zhuge Liang as the super powered man who had both the talents and the nobility, but maintained the critic tone to Xun Yu who joined in Cao Cao. Of course, these historical views on Three Kingdoms were from the special political environment of South Song Dynasty, however, it was confirmed that the emphasis on the roles of the literati as the teachers was exposed into this historical view, too. Hence, this article has the meaning to prepare the momentum to review on the meanings of historical views on Three Kingdoms by the scholars of South Song Dynasty while authentic history, Records of the Three Kingdoms was shifting into Romance of the Three Kingdoms.