朝鮮刊 『選賦抄評注解刪補』引 『楚辭』 各篇之考實

賈捷 열상고전연구회 2016 열상고전연구 Vol.54 No.-

조선시기에 유통된 『선부초평주해산보(選賦抄評註解刪補)』는 필사본, 관판본, 방각본 세 종류가 있다. 『선부초평주해산보』는 필사본이 먼저 유통되었다가 지방 관아에서 목판본으로 간행하였고, 후에 또 방각본이 간행되면서 내용의 증보가 발생하였다. 『선부초평주해산보』는 『문선』 중의 부(賦) 작품들을 위주로 선별하여 수록하였고 『문선』 외에 기타 부 작품들도 추가하였다. 이 책의 관은본은 『초사(楚辭)』속의 「이소경(離騷經)」 한 편만을 수록하였고, 방각본에는 「이소경(離騷經)」 외에 또 『초사』속의 「구가(九歌)」, 「구장(九章)」, 「천문(天問)」을 더 추가하였다. 이로부터 『선부초평주해산보』는 비록 직접 『초사』를 저본으로 간행한 것은 아니지만 모두 『초사』속의 「이소경」, 「구가」, 「구장」, 「천문」을 부 작품으로 인정하고 있다는 것을 알 수 있다. 또한 『초사』 작품의 주해(注解)도 주희의 『초사집주(楚辭集注)』를 바탕으로 주석하였는데 조선 시기에 복각한 주희 『초사집주』양상림(楊上林) 간본을 저본으로 하여 수정하였을 것으로 본다. 『선부초평주해산보』의 주해에는 정확하고 합리적인 산삭도 있지만, 잘못된 삭감도 있다. 관판본 속의 「이소경」 주석에는 오류가 비교적 적고, 방각본 속의 「구가」, 「구장」, 「천문」의 주석에는 상대적으로 잘못된 부분이 많다. 그 외에 방각본의 「구가」, 「구장」, 「천문」 각 편은 많은 부분을 삭감하고 교감과 주음을 하였는데, 관판본 속의 「이소경」에는 이런 현상이 나타나지 않았다. 그러므로 조선시기에 간행한 『선부초평주해산보』간본은 조선시기의 『초사』의 「이소경」, 「구가」, 「구장」, 「천문」의 수용과 주희의 집주를 높이 평가하는 양상을 연구하는 면에서 매우 중요한 문헌적 가치가 있다. Xuanfu Chaoping Pizhu Shanbu(Deleting and Adding Commentary of Selected Works) which was circulated in Chosun era included three versions, namely written edition, offical edition and folk printed edition. This was a process of recarving, deleting and adding up for various versions, ranging from being written by hands, locally printed in official houses to being printed in the folk houses. Xuanfu Chaoping Pizhu Shanbu, mainly on fu (descriptive prose interspersed with verse) from Wenxuan (selected proses), added other proses outside Wenxuan. The official edition only selected one prose, namly Lisao Jing from Chuci, while the folk house printed edition added Jiuge Jiuzhang, and Tianwen from Chuci. The version of Xuanfu(Selected Works)was not the same as Chuci,but both official and folk printed versions identifies Lisao Jing, Jiuge, Jiuzhang, Tianwen as a piece of fu (descriptive prose interspersed with verse). Besides, Xuanfu(Selected Works), whose explanatory notes were completely based on Zhuxi’s Chuci Jizhu, was likely to be deleted and added up according to Yang Shanglin’s Chuci Jizhu reprinted in Chosun era. The explanatory notes of various chapters of Chuci in Xuanfu Chaoping Pizhu Shanbu was reasonably deleted and changed, sometimes mistakenly removed. However, compared with Jiuge, Jiuzhang and Tianwen of folk printed edition, Lisao Jing of official edition contained much less commentary errors. In addition, Lisao Jing of official edition was not deleted, collated and phonetically notated in such a large quantity in every chapter as Chuci of folk printed edition. Therefore, Xuanfu Chaoping Pizhu Shanbu had important literature value not only in exploring the acceptance of Lisao Jing, Jiuge, Jiuzhang and Tianwen in Chosun era, but also in canonizing Zhuxi’s annotation.

『일본민요대관(日本民謡大観)』의 체제와 기능

임혜정(Im, Hye-jung) 한국민요학회 2021 한국민요학 Vol.63 No.-

『일본민요대관(日本民謡大観)』은 NHK의 주도하에 전국적인 규모로 이루어진 일본 민요 수집 작업의 결과물이다. 녹음 기술, 지역 네트워크의 활용 등의 측면에서 본다면 방송국에 의한 『일본민요대관』의 출판은 일본 민요의 조사 및 수집에 있어서 매우 긍정적인 역할을 했다. 『일본민요대관』 편찬 작업에는 마치다 카쇼(町田嘉章), 고이즈미 후미오(小泉文夫) 등 음악학자들의 영향력이 지대했다. 이들에 의해 19세기 후반 이후 20세기까지의 변화를 확인할 수 있는 민요, 전국 각지의 이름 없는 민요까지도 포함될 수 있었다. 그 결과 『일본민요대관』은 일본 민요의 백과사전이라는 일차적인 기능은 물론이고 민요라는 음악이 수반되는 일본 민속의 종적, 횡적 양상을 연구할 수 있는 자료로서의 기능도 지니게 되었다. 『일본민요대관』의 편찬을 위해 수집 대상 민요의 선정 및 채보 방식의 고민, 그리고 분석 등 일본 민요에 대한 음악학적 연구가 함께 진행되었다. 실제로 후지이 키요미(藤井清水)와 마치다 카쇼가 지지했던 채보 방식 및 음계 이론은 『일본민요대관』의 본토편까지 적용된 이후 오키나와․아마미편에서는 고이즈미 후미오의 이론으로 대체된다. 고이즈미 후미오가 오키나와․아마미편에 적용한 음계이론은 그 이전에 후지이 키요미와 마치다 카쇼가 진행했던 『일본민요대관』의 본토편 작업 결과물이 데이터로서 기반이 되어 이루어졌다고도 볼 수 있다. 이렇게 『일본민요대관』은 일본 민요에 관한 연구, 그 중에서도 특히 음악학적인 연구 발전에 있어서 중요한 자료로서 활용되어 왔다. Nippon Minyo Taikan日本民謡大観 is the result of collecting Japanese folk songs on a nationwide scale and recording melodies by voice recording under the leadership of NHK. The collection of folk songs started in the 1930s and was completed over a period of more than half a century until 1993, when the last completed version, Amamishotohen奄美諸島篇 was published. Of course, as it is a business conducted by a broadcasting station, the purpose of utilization in broadcasting programs cannot be denied. However, in terms of recording technology and utilization of local networks, the participation of broadcasting stations played a rather positive role in the research and collection of Japanese folk songs. Machida Kasho町田嘉章, who played a central role in the publication of the mainland edition, and Koizumi Fumio小泉文夫, who laid the foundation for the Amami-Okinawa edition, had a great influence on the compilation of the Japanese folk song collection. Thanks to the academic interest of these scholars, it was possible to include folk songs that can confirm the change, development, and decline from the late 19th century to the 20th century, and even unnamed folk songs from all over the country. This achievement is meaningful in that it has a primary function as an encyclopedia, as well as a function as a material to study the vertical and horizontal aspects of Japanese folklore accompanied by music called folk songs. Musicological research on Japanese folk songs was conducted together with the selection of the folk songs to be collected, the consideration of the transcription method, and the analysis for the compilation of the Nippon Minyo Taikan. In fact, in aspect of the transcription method and the scale theory in mainland edition, Fujii Kiyomi and Machida Kasho’s theory was applied. But in the Okinawa/Amami edition, Koizumi Fumios’s theory was applied. It can be seen as a reflection of the theoretical system established by Koizumi Fumio, but on the other hand, it was possible because of the data accumulated by the transcription method presented by Fujii Kiyomi and Machida Kasho. In other words, it can be said that Nippon Minyo Taikan played a very important function as data that advances the history of Japanese folk song research. In conclusion, the contents of the articles included in Nippon Minyo Taikan also developed from being partial and local in the beginning, and in the latter half, it was changed in the direction of presenting comprehensive musical analysis and statistics. It is gradually equipped with a function as an ethnographic material showing the history of Japanese folklore or the history of Japanese local culture, rather than staying in the role of an encyclopedia of folk songs.

조선시대 빈풍칠월도의 도상적 기원과 기능 연구

김현지(Kim, Hyunji) 한국미술사학회 2017 美術史學硏究 Vol.295 No.295

1960년대 민족 · 민중 문화운동과 오윤의 미술

김미정(金美廷) 한국미술연구소 2015 美術史論壇 Vol.- No.40

Oh Yoon (1946-1986) formed Hyeonsil Dongin, a student association, in 1969 arguing the combination of life with art. Oh Woon opposed the Korea’s modernism art that mimics the western art and pursued art that enriches people’s lives focusing on tradition and the public. Oh Yoon created the image of workers and the public with rough and clunky but lines full of vitality. The unique art world of Oh Yoon was based on culture movement among the public in the 1960s including mask dance, Pansori (a dramatic song recital), and Madangguk (one of traditional Korean performance). The world where national imagination is restored in the order of human society which applies dynamic principle led by the public! It is ultimate art word dreamt by Oh Yoon. To this end, Oh Yoon was inspired by Namsadang performance and Korean Folk Art (Min-Hwa). Madangguk (one of traditional Korean performance) and vulgar painting in the late Joseon Dynasty enabled the initial art style of Oh Yoon, which started from mural movement in Mexico to be developed into a unique engraving art with sense of humor and comic touch. Ironically, the recognition of information including folklore, play, Min-Hwa and mask dance was the good result of support for Korean traditional music and traditional art led by the nation starting from the late 1950s. In particular, the Cultural Heritage Protection Act announced in 1962 and protection of intangible cultural asset started in 1963 enabled the research and preservation on traditional play and national data. In addition, the nationwide folklore competition contributed to making traditional culture popular among the public. The government support for national traditional culture was part of the national integration policy of the government which took power after the May 16 coup. The national culture movement was expanded and reproduced with the involvement of the private, public and business sectors in the 1960s and 1970s. Therefore, the art of Oh Yoon was looked at in the big picture of Korea’s national movement in the 1960s and 1970s that focused on the restoration of tradition.