韓國詩話中的唐詩解釋學

서보여 중국인문학회 2023 中國人文科學 Vol.- No.84

Koreans have adopted a variety of methods in the interpretation of Tang poetry, among which the five aspects of interpretaion of poetry by Chinese classics(以經解詩), Neo-Confucianism(以理解詩), other Tang poetry(以唐解唐), dialect slang and customs(以方言风俗解詩), and personal experience are the most distinctive. The interpretation of poetry by Chinese classics shows the role of Confucian classics such as the Book of Poetry in regulating and restraining poetry, highlighting the complex and insoluble relationship between scripture and literature. Some neo-Confucianism had a hostile attitude towards literature, believing that literature was harmful, such as Er-Cheng(二程), and some neo-Confucianism had a tolerant attitude towards literature, such as Zhu Xi(朱熹). This had also created some characteristics of Koreans in understanding poetry. Interpreting poetry in dialect slang and customs brought Tang poetry into the Korean context, and tried to interpret Tang poetry regionally with its own social customs and linguistic environment, which could indeed increase and expand the ways and methods of interpretation, but it also made some misunderstandings because it was separated from the specific environment created by Tang poetry. On the contrary, the interpretation of poetry by experiencing it was somewhat in the spirit of textual research in Qing Dynasty, and the interpreter only felt some emotions and even facts in Tang poetry after experiencing certain scenes or events personally, so as to better experience the charm of Tang poetry, which can be said to be a step further in the hermeneutics of Tang poetry. There are also some foreseeable problems in the methods used by Koreans in interpreting Tang poetry, such as curious interpretation, overinterpretation, etc., which existed in Chinese poetics, and also existed in Korean poetics. If it can be rooted in the local environment of Chinese poetics, combined with the interpretive experience of Koreans, and reasonable speculation and deduction within the limits of interpretation, Korean Tang poetry hermeneutics still has important academic historical value, especially as an exotic eye, Korean poetics criticism of China should attract the attention of Chinese scholars.

漢越音在唐律詩中特點和功能考論

阮氏聲鐘 경성대학교 한국한자연구소 2019 한자연구 Vol.0 No.24

Sino-Vietnamese pronunciations are the way Vietnamese people read Chinese characters. Going through the process of formation and development, they have become an important part of the Vietnamese language. In the field of literature, Sino-Vietnamese sounds are closely related to Tang poetry in China and Tang poetry in Vietnam. Tang poetry is a Chinese literary achievement consisting of systems of authors and works with strong influences on Sinosphere countries in medieval time such as Vietnam, Japan, and Korea. In Vietnam, Tang poems are read by Sino-Vietnamese pronunciations, which ensure tonal harmony. Scholars in China, Vietnam, and other countries have studied Tang poetry in terms of phases, authors, styles, and ideologies. However, there has been no attempt to investigate the characteristics and functions of Sino-Vietnamese pronunciations in Tang poetry. In this paper, we study the characteristics and functions of Sino-Vietnamese pronunciations in Tang poetry in China and Vietnam based on the comparison of similarities and differences of reading Tang poems by Sino-Vietnamese pronunciations and by contemporary Chinese by means of surveying 133 poems in Three hundred Tang poems. Comparative data on the ability to keep Tang poetry’s same tone rules and Tang poetry’s rules of Sino-Vietnamese pronunciations and contemporary Chinese show that both types of reading can either remain or break the rules of this poetry type, but their proportions are different. 54% of poems by Sino-Vietnamese pronunciations keep Tang poetry’s same tone rules and Tang poetry’s rules while the rate of poems by contemporary Chinese reading is 34%. The number of poems in which Sino-Vietnamese pronunciations can keep the rules while contemporary Chinese cannot is 28 (accounting for 21%). The number of poems in which contemporary Chinese can keep the rules while Sino-Vietnamese pronunciations cannot is 1 (accounting for 1%). The survey results show the remarkable advantages of Sino-Vietnamese pronunciations regarding the ability to keep Tang poetry’s same tone rules and Tang poetry’s rules compared to the contemporary language used by Chinese people. This is attributed to the fact that Sino-Vietnamese pronunciations are close to the sounds of Tang poetry and still preserve the tone patterns. With such a characteristic, in the process of cultural adaptation, Vietnamese people use Sino-Vietnamese pronunciations to compose, translate, as well as appreciate and study Tang poems. There were thousands of authors, and there were poetry collections of thousands of Tang poems written in Sino-Chinese in medieval time. The similarities and differences between Sino-Vietnamese pronunciations and contemporary Chinese in Tang poems prove cultural adaptation among nations, contributing to preserving the diverse beauty of valuable literary works of humankind.

惕若齋 金九容 시에 나타난 唐詩風 경향과 미적특질

하정승(Ha, Jung-seung) 우리문학회 2015 우리文學硏究 Vol.0 No.46

?若齋 金九容은 13세기의 정치가였던 金方慶의 후손으로 안동김문이라는 명문가의 자제로 태어나 이른 나이에 과거에 급제하고 벼슬길에 오른 뒤 승승장구하였지만, 驪興유배와 중국 雲南유배라는 큰 시련을 겪기도 하였다. 결국에는 운남 유배 도중에 먼 이역의 땅인 四川에서 죽게 되는 비극적인 결과가 있었고, 이는 그의 시에 고스란히 담겨 있다. 특히 그는 14세기 전반기에 문명을 떨쳤던 문인인 及菴閔思平의 외손으로 어려서 급암에게 시를 배웠기에 시풍에 있어서 매우 유사한 모습을 보인다. 즉 급암시의 가장 큰 특징은 平淡ㆍ沖澹인데 척약재시에도 평담함이 그대로 나타나 있다. 평담이나 충담의 시품은 자연시 계열의 唐詩風작품들에서 흔하게 보이는 품격으로 척약재시의 전반적인 이해를 위해서는 매우 중요한 사항이다. 唐風의 시풍을 보이고 있는 척약재시에서도 평담은 閒適이나 낭만적 정서의 형태로 드러나는 경우가 많으며, 이는 결국 척약재만의 당시풍을 형성하는 데에 큰 역할을 하고 있다. 前代의 비평가들은 대체로 척약재시의 특징을 淸新ㆍ雅麗ㆍ淸贍등의 詩品으로 비평하고 있다. 사실 이 비평어들은 모두 당시풍 시에서 두드러지게 나타나는 시품들이다. 청신·청섬 등 청자계 시품은 당시와 밀접한 관련이 있고, 雅麗는 典雅·綺麗의 줄임말로 뜻과 표현력이 아름다운 시문의 품격을 의미하는데 이 또한 唐詩의 주요한 특징이기도 하다. 14세기 고려후기의 한시사에서 김구용은 洪侃, 鄭?, 정몽주, 이숭인과 더불어 당시풍의 한시 창작을 주도했던 인물이다. 14세기 고려문단의 당시풍 詩作은 멀리는 신라하대 崔致遠으로 거슬러 올라가고, 가까이는 12세기의 鄭知常과 13세기의 李奎報, 陳?를 계승하였다는 문학사적 의미가 있다. 김구용의 시는 동시대 시인들 중에서도 정포나 이숭인의 매우 감각적인 당풍적 시풍과는 구별되는 척약재만의 낭만적인 독특한 시풍을 보여준다. 척약재 등이 추구했던 고려후기의 이러한 시풍은 조선초에도 그대로 이어져 선초의 成任같은 만당풍을 추구했던 시인들에게 일정한 영향을 주었다고 판단된다. Chukyakjae-Kim Guyoung(金九容) is a descendant of Kim Bangkyung, politician in the 13th century and a man out of the Kims of Andong. He passed the civil service examination and found success at an early age, but he died in Sacheon on his way Unnam to be sent into exile. His poetical style is similar to Gubam-Min Sapyong’s because he learned creation of poetry from Gubam who is his maternal grandfather and famous poet in the 14th century. The best features of Gubam’s poetry are Pyongdam(平淡)ㆍChungdam(沖澹), which permeated Chukyakjae’s poetry. Pyongdam(平淡) or Chungdam(沖澹) is major dignity of Tang’s poetical style and importanr factor to understand Chukyakjae’s poetry. Pyongdam(平淡) is appeared as Hanjeok(閒適) or romantic emotion and eventually played a important role in forming Tang’s poetical style in Chukyakjae’s poetry. The critics in previous generation defined the characteristic of Chukyakjae’s poetry as the dignity of poetry-Chungsin(淸新)ㆍ Aryo(雅麗)ㆍChungsum(淸贍). These three characteristics are the dignity of poetry in Tang’s poetical style. Chungsin(淸新) and Chungsum(淸贍) are linked closely to Tang’s poetry. Aryo(雅麗) is short for “Juna(典雅)ㆍKiryo(綺麗)”, which means the dignity of beautiful poetry. This is also the characteristic of Tang’s poetry. Along with Jung Po(鄭?), Jung Mongju(鄭夢周) and Lee Sungin(李崇仁), Kim Guyoung leaded creative activity of poetry with Tang’s poetical style in the history of Korean Chinese poetry of late Goryeo dynasty. Writing poetry with Tang’s poetical style in the literary world of the 14th century is traced back to Choi Chiwon of late Shilla, Jung Jisang of the 12th century, and Lee Kyobo·Jin Hwa of the 13th century. Poetry of Kim Guyoung shows the unique style of poetry distinguished from the sensitive poetry of Jung Po or Lee Sungin with Tang’s poetical style. Chukyakjae’s poetical style handed down to poet of Chosun Dynasty. It influenced not only Sung Im(成任) of early Chosun who pursued the Late Tang’s Poetical style but also writing poetry with Tang’s Poetical style of Three Great Poets in the 16·17th century.

朝鮮宣祖時期唐詩接受特徵論

張景昆 연민학회 2024 연민학지 Vol.41 No.-

宣祖時期打破朝鮮詩壇二百年學蘇的局面, 由宋轉唐, 並孕育了“三唐”詩人這一宗唐創作高峰, 是朝鮮時代唐詩接受的關鍵時期。 其唐詩接受既與其後光海君、仁祖時期呈現不同的階段性特點, 也與中國本土的唐詩接受不同。 首先, 在宗唐緣起方面, 既得益於本土湖南詩壇李後白與文衡朴淳的引導, 又受到元明唐詩學影響, 如唐詩選本≪唐詩絕句≫≪唐音≫、格法著作≪詩法源流≫≪文筌≫以及李東陽等。 從文集流傳時間差以及取法對象、風格、用典、詩體的差異來看, 明代前後“七子”並非宣祖詩人的宗唐緣起。 朝鮮詩人申翊聖、金昌協對此有明確判斷。 其次, 宣祖時期的唐詩接受具有很強的實踐屬性, 重創作、輕理論。 打破宋詩的以學問爲詩、以議論爲詩, 重性情之真與性情之正, 少用典而重興象的建構, 並注重詩歌的聲韻美。 再次, 關於宣祖詩壇對唐詩的摹擬方式, 創作上以集句、次韻、效體(以高敬命爲代表)或沿襲唐人詩題(以許蘭雪軒爲代表)爲接受標誌, 同時包括對唐代詩人觀物方式、情感模式、詩法、風格、意境與審美理想的深層接受。 總體上追求的是唐詩格調的純粹, 宗唐得似, 其背後是嚴辨華夷、欽慕中华的文化心態。 最後, 關於唐詩典範的選擇, 接受媒介具有重要導向作用, 如蘇軾與朱熹共同促進了韋應物詩在朝鮮的經典化, 並認爲學杜不等於學唐。 During the Xuanzu period of the Joseon Dynasty, poets began to emulate Tang Poetry instead of Song Poetry, coinciding with the peak of Santang Poets’ fame and literary excellence. The period is momentous in the history of accepting Tang poetry, differing significantly from both the Guanghaijun and Renzu periods and developments in China. Firstly, the acceptance of Tang Poetry during this period was influenced significantly by Hunan poets of the Joseon Dynasty, especially Lee Houbai and Park Soon. It was also shaped by the Tang Poetry studies during the Yuan and Ming dynasties, including the Tang Poetry anthology Tang Poetry Jueju or Sound of Tang Dynasty, and prosody works such as The Source of Poetry Practice or Wenquan. The famous poet Lee Dongyang further contributed to this influence. It is crucial to emphasize that Qianhou Qizi in the Ming Dynasty was not the cause of Santang Poets, not only due to the time difference in the collection’s circulation but because their learning objectives, style, literary quotations, and literary form were different. Clear judgments on this matter were made by Joseon poets Shen Yisheng and Kim Changxie. Secondly, emphasizing writing over prosody theory, the poetry of this period reflected genuine and sincere emotions with fewer literary quotations and a focus on imagery. The pursuit of the rhyme beauty of poetry distinguished it from Song Poetry, which paid attention to knowledge and discussion. In addition, there are two signs that poets of the Xuanzu period emulated Tang Poetry. Firstly, they wrote Jiju, Ciyun, or Xiaoti represented by Gao Jingming. Secondly, they adopted titles of Tang Poetry represented by Xu Lanxuexuan. Additionally, they learned from the observation of the world, emotional modes, poetic methods, styles, artistic conceptions, and aesthetic ideals of Tang Dynasty poets. Collectively, they sought the purity of Tang poetry style with a cultural mentality that admired ancient Chinese culture. Last but not least, accepting media played an important guiding role in selecting a model from Tang poetry. For example, Sushi and Zhuxi played a significant role in promoting Wei Yingwu’s poems, which subsequently became classics in the Joseon Dynasty. They also distinguished between learning from Dufu and learning from Tang Poetry.

唐边塞诗在朝鲜朝的传播和影响研究

靳雅姝 한국중국언어문화연구회 2023 한중언어문화연구 Vol.- No.68

Tang Dynasty frontier poetry is a treasure of ancient Chinese literature, not only occupying an important position in the history of Chinese literature, but also having a profound impact on the development of frontier poetry in the Joseon Dynasty. The attention of Joseon literati to Tang Dynasty's frontier poetry involves various aspects, from the theme connotation to the standard of rhythm, from frontier things to cultural allusions, from the evaluation and comparison of Tang Dynasty's frontier poetry to the interpretation and evaluation of previous annotations, and so on. The learning and imitation of Tang Dynasty's frontier poetry by Joseon literati are reflected in many aspects, such as the use of imagery in Tang Dynasty's frontier poetry, and the agreement with the theme of Tang Dynasty's frontier poetry. In addition, Joseon literati often used the works of Tang frontier poets as a benchmark to measure or evaluate the works of their own literati. The above indicates that Joseon literati were familiar with Tang Dynasty frontier poetry and accepted and recognized Tang Dynasty frontier poetry.Therefore, it is necessary to conduct a comprehensive analysis and research on the communication and influence of Tang Dynasty's frontier poetry on Joseon Dynasty's frontier poetry from various aspects such as dissemination and comparative research.

奪換法下韓國人的唐詩觀

徐寶余 ( Xu Baoyu ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

The method of Duohuan(奪換), that is, the method of changing the bones and altering the fetus, is an important topic in the poetics of the Song Dynasty. Since Huang Tingjian(黃庭堅) proposed it, it has been used in the creation of poetry in the past dynasties. The method of changing the bones and altering the fetus, especially from Tang poetry, has become a relatively popular creative method. Korean poets are very concerned about this. In their reading, they could find the poems of the Tang Dynasty replacing the six dynasties, and put forward special mentions, even there are some places that Chinese scholars had not noticed. They also found lots of examples of later generations changing and altering the before, compared and evaluated them, and tried to find out the author’s personality and differences, so as to provide a reference for the current writing. Korean poets not only noticed the facts before and after Tang and Song poets were changed and altered, but also noticed how to change and alter Tang poetry in their own creations. There are many cases of Korean poets taking over and replacing Tang poetry in the process of creation. Changing and altering Tang poetry is an important way for them to learn Tang poetry. Some great poets in the Tang Dynasty, such as Li Bai(李白), Du Fu(杜甫), Bai Juyi (白居易), etc., were their most common targets for replacement; in addition, Korean poets also showed special preferences for poets in the middle and late Tang Dynasty, especially in the late Tang Dynasty. Korean poets also show a special preference for a certain poem or a certain sentence of the Tang Dynasty. For example, Zheng Zhichang’s(鄭知常) Datong Jiang(大同江) poem is a poem that was changed and altered from Li Du(李杜), and then formed a magnificent movement in the history of Korean poetics. There are many methods used by Korean poets to replace Tang poems. The more distinctive ones are the “Five-Seven Method(五七法)”, “Reversal Method(翻案法)” and “Set Syntax(集句法)”. These methods have undoubtedly brought many conveniences to the creation of Koreans. However, just as Chinese poets use the method of snatch and exchange, Korean poets are also faced with the problems brought about by snatch and exchange, among which there are two most important issues: one is how to distinguish the relationship between snatch and exchange, stealing, and sympathy, so as to avoid falling into a disadvantageous situation; secondly, after all, replacement is a way of imitating and learning from others. How to find a way of owning in writing is an important issue faced by Korean poets. So in the theory of Duohuan, there are voices of opposition. As early as the Korea period, people like Li Renlao(李仁老), Cui Zi(崔滋), Li Qixian(李齊賢) and others had already raised doubts about this, and in the Li Chao, Xu Juzheng(徐居正), Li Suiguang(李睟光), Liang Qing Yu(梁慶遇) and others have criticized this.

호소지(湖蘇芝)의 시문학연구(詩文學硏究) -당시풍(唐詩風)을 중심(中心)으로-

조희창 ( Hee Chang Cho ) 한국한문고전학회(구 성신한문학회) 2013 漢文古典硏究 Vol.26 No.1

朝鮮초의 시문학은 崇文政策으로 世宗이래 전례 없는 성황을 이루어 사림파와 사장파간의 대립을 초래하여 한때 문약을 거치기도 하였으나 宣祖朝를 거치면서 穆陵盛世의 개화를 가져왔다. 그 중 海東江西詩派의 일원으로 宋詩와 唐詩를 함께 아우르면서 漢詩史에 족적을 남긴 이가 ‘湖蘇芝’라 지칭되는 湖陰鄭士龍(1491-1570), 蘇齋盧守愼(1515-1590), 芝川黃廷彧(1532-1607)이다. 이들에 대한 지칭은 대체로 ‘湖蘇芝’, ‘館閣三傑’, ‘海東江西詩派’로 불리워지고있다. 許筠은 위 3인을 唐風을 지닌 시들을 창작하고 진작시켰음을 치하하면서‘湖蘇芝’라 호칭하였고, 정사룡은 孫谷李達에게, 盧守愼은 白光勳과 崔慶昌에게 唐風을 전수하고 있음을 확인하고 있다. 위 사실에 비추어 ‘湖蘇芝’는 宋詩를 唐詩로 전환시키는 교량적 역할을 하였으며 ‘三唐派’에게 唐風을 연수시킨과 도기적 인물들임을 알 수 있다. 지금까지 ‘湖蘇芝’ 3인의 唐詩구사에 대한 입체적인 조망을 한 연구가 거의 없다. 여러 연구들은 3인의 개별적 연구에 한정하였고 몇 편의 연구논문에서 湖陰정사룡과 蘇齋노수신 간의 작품 성향에 대하여 언급이 있었을 뿐이다. 논자들은 허균의 시평(惺?詩話)을 근거로 호음은 7언에 장하고 소재는 5언에 장하다고 두 사람을 견주고 있다. 그러나 소재보다 17년 아래인 황정욱에 대한 연구는 兩人과 상견하여 볼 때 미미한 편이다. 허균은 惺?詩話에서 “우리나라의 시는 宣祖朝에 크게 갖추어졌으며 盧蘇齋가 두보의 법을 얻었고 黃芝川이 대를 이어 일어났다. 崔孤竹[崔慶昌]과 白玉峯[白光勳]이 唐詩를 배우고 李益之[李達]가 그 흐름을 밝혔다”고 하여 지천이 소재의 뒤를 이어 唐風을 구사하고 있음을 밝히고 있을 뿐이다. 따라서 본 연구는 단편적으로 언급되었던 ‘호소지’ 문학의 특질들을 상호 비교하고 지금까지 ‘湖蘇芝’라고 호칭하면서 가설이나 문제 제기에 머물러 있었던 사안들을 구체화하기 위하여 그들에 대한 문집과 그들을 연구한 선행 논문들을 발췌하고 연구에 필요한 자료들과 시문 문구를 찾아내어 새로운 시각으로 조망하였다. Poetry literature of early Joseon Dynasty caused conflicts between Sarim group and Sajang group, by creating unprecedented prosperity since King Sejong the Great. This once resulted in the weakening of literature. However, going through Seonjo Dynasty, it brought about the enlightenment of Chinese literature. Among the members of Hedonggangsuesi, ‘HoEum JungSaYong’(1491-1570), ‘SoJae NoSooSin’(1515-1590) and ‘Jiwon HwangJungWook’(1532-1607) were the ones who left significant marks in the history of Chinese poetry, encompassing both poems of Song dynasty and those of Tang dynasty. In general, they are called as ‘HoSoJi’, ‘GuanKakSamGirl’, or ‘HaeDongGangSueSi group’. Heogyun called these three people ‘HoSoJi’, praising them for creating and developing Tang-style poetries. Then he confirmed that HoEum passed down Tang style to SonGog, SoJae NoSooSin passed down Tang style to BeakGangHoon and ChoiKyungChang. Inferring to this fact, we know that Hoso Ji worked as a bridge that converted Song poetry into a Tang poetry. We also know that they are the transition figures who passed down Tang poetry to ‘Samdang’. So far, there is little research that has the solid view about the command of Tang poetry of these three people of ‘HoSoJi’ Many of the past researches were limited to the research of individual person of HoSoji. There were only a mentioning of HoEum JungSaYong and SoJae NoSooSin`s writing style in some of the research papers. Debaters are comparing Hoeum and Sojae, pointing out that Hoeum is good at seven-Un and Sojae at five-Un. However, research about HwangJungWook, who is 17 years younger than SoJae, is insignificant compared to Sojae and Hoeum. The research about Hwang Jungwook, if there is any, appears in Heogyun`s writing, SungSoSiHwa: “poetry of our country was well-founded in Sunjo period. SoJae got law of DuBo, and Hwang JungWook followed after him. ChoiKyunChang and BackGanghoon learned Tang poetry, and LeeDal lightened this stream of trend.” Through this writing, he is explaining that Hwang Jungwook inherited Tang style from SoJae. This study inter-compares the characteristics of Hosoji literature, which was only fractionally mentioned. In order to materialize the issues-so called ‘Hosoji’- that have been only remained as a theory or unsolved questions, this research extracts collections of works and precedent researches about Hosoji. It also finds out the materials and poetry words needed for research and put them into new perspectives.

岸曙와 素月의 한시 번역과 창작시의 율격

노춘기(Roh Choon-ki) 한국시학회 2005 한국시학연구 Vol.- No.13

The versification rules of Tang Poetry influenced overwhelmingly over East Asian poets as the standard of poem since Tang age. In spite of strictness of these rules, Tang Poetry was accepted as the influential aesthetic form. Poets must have learn the Chinese character with a characteristic of ideograph and a tone of voice, and very complicated versification rules. This experience of accepting the prominent position of Tang poetry had wide-ranging effect on recognition of the poetry. In result, modern korean poet in 1910's who wrote a fixed form poetry got a potential reason of accepting the syllabic metric system. In this paper I compared the translated Tang poetry of Kim-Euk and Kim-Sowol to their lyric poetry. With the consequence that I found some remarkable idiosyncrasy in their versification method. In the case of Kim-Euk's poetry, he had positively accepted the formal characteristics of Tang poetry in his poetry writing and had increasingly lost the tension and personality of his lyric poetry. In Kim-Sowol's poety some case was found that he lost the tension of his poetic language while he strictly observe the syllabic rules in his traslated Tang poetry. And some differences was found in their later poetry. Kim-Euk had maintained a optimistic view of syllabic system, and finally published 먼동틀제 at dawn, an epic poem written on fixed form method. Kim-Sowol had shown the weakened inclination of fixed syllabic poem over his early day's poetry. It is not easy to find the clear relation between Tang poetry and modern poetry. But it is possible that the form of Tang poetry influenced as the formal boundary of poetry verification to korean modern poets. Especially those two poets who have important position in formative period of ballad poem in 1920's fixed syllabic system, had been influenced quitely.

전기(錢起)의 자연시 창작 경향

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2012 中國硏究 Vol.55 No.-

This article was written to study on the aspects of the Qian-Qi(錢起, 720-783)``s Landscape poetry. Qian-Qi is one of the most important Poets of Dalishicaizi in Middle Tang Dynasty. In comparison with the poems describing landscapes, gardens city sceneries in High Tang Dynasty, Qian-Qi``s poems which have the same content are lack of peace and density. The features of Qian-Qi``s Landscape poetry was in basically inherited the style of Wang-Wei``s Landscape poetry in High Tang Dynasty. The aspects of the Qian-Qi``s Landscape poetry can be summarized as that: The first, Qian-Qi``s Landscape poetry basically inherited the style of Wang-Wei``s clear and fresh style. So we can say Qian-Qi is the meson of Landscape poetry between High and Middle Tang Dynasty, but, in the other hand, it contains subjective emotion of poet and which represented the style of Middle Tang Dynasty. The second, Qian-Qi have expressed rich emotion by using abundant vocabulary in his poem. That also means he have the intense aspirations toward nature. Abundant vocabulary can provide rich emotional spray and which running through his poem, so he can pursued more clear and fresh style in his Poetry, The third, in the way of expression, Qian-Qi pursued detailed and elaborate description. This aspect can created perfect combination of stylish rhythm and sturdy, and the rhythm of Qian-Qi``s poems is concordant and orderly, on the one hand, it also can developed the poetic form of the one in High Tang Dynasty, on the other, he can marked an more unique style of Middle Tang Dynasty. At to artistic conception, narrow, diffident and manual aspect of Qian-Qi``s Landscape poetry not much showing the magnificence of the poems as in High Tang Dynasty, but it contains it``s own character of Middle Tang Dynasty. The fourth, Qian-Qi``s landscape poetry have clear and fresh style, but in the features of landscape poetry, that also contains inner world in his poetry, Most of poets of Middle Tang Dynasty experienced suffering life which comes from political environment, and Qian-Qi``s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have some of Quiet, Delicacy, Lonesome styles.

가도(賈島) 시가에 나타난 자연묘사 양상

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2015 中國硏究 Vol.63 No.-

This article was written to study on the aspects of the Jia-Dao(賈島, 779-843)``s landscape poetry. Jia-Dao was one of important poets in the school of Hanmeng(韓孟) in mid-Tang dynasty. During the mid-Tang dynasty, the aesthetic themes tradition of landscape poetry were innovated by Jia-Dao and Yao-He(姚合) and their epigone. The feature of Jia-Dao``s Landscape poetry was in basically inherited the landscape poetry in high-Tang Dynasty, but the aspects of the Jia-Dao``s Landscape poetry was developed some different direction. We can say Jia-Dao is the meson of landscape poetry between high-Tang and mid-Tang dynasty, but, in the other hand, it associated with small scale approaches in writing poem about nature scenery and which represented one of the style of mid-Tang Dynasty. I can be summarized the distinct characteristic of his poem as that : The first, In Jia-Dao``s poems, he had concentrated his emotion by using rather sterile and bitter expressions in comparison with other poet. That, in some aspect, means he had intense feeling and passion in his inner world. Most of poets of mid-Tang dynasty experienced suffering life which comes from political environment, and Jia-Dao``s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have more sterile and bitter emotion. The second, In Jia-Dao``s poems, we can also find that his landscape poetry have clear and elegant style, and much of his landscape poetry was already gone through the process of extreme training by writing poem. So we can say that the aspect of his landscape poetry``s clear and elegant style contains much of his effort. The third, Jia-Dao``s landscape poetry basically seek the small subject of nature, and pursuit detailed description. In the way of expression, Jia-Dao pursued fresh and elaborate description. This aspect can created fine expressions, on the one hand, he can marked an more unique style of mid-Tang dynasty. At to artistic conception, narrow and small, detailed aspects of Jia-Dao``s landscape poetry not much showing the magnificence of the poems as in high-Tang dynasty, but it contains it``s own character of mid-Tang dynasty.