소상팔경의 전승 맥락과 한국의 주체적 수용 = A Study on the Transmission Context and the Literature Accommodation Aspect of the Song about the Beautiful Scenery of Eight Places in Suzhou and Sanjiang

다국어 초록 (Multilingual Abstract)

This study aimed to trace how the song about the beautiful scenery of eight places in Suzhou and Sanjiang was transmitted and transformed after it was introduced in Korea.
It was during the time of the Northern Sung Dynasty when the song became one title style. However, prior to the era, one creation tradition related to it already existed. The poetry of the song about the beautiful scenery of eight places in Suzhou and Sanjiang, which was created in China, were Chinese poetry and the Sa Chinese style of writing and it was introduced during the Korean Dynasty. It was during the reign of King Myeongjong when the song was first mentioned. The oldest identifiable poetry of the song about the beautiful scenery of eight places in Suzhou and Sanjiang to date is the one written by Lee In-ro while he was seeing <Song about the Beautiful Scenery of Eight Places in Suzhou and Sanjiang Landscape> by Song Jeok.
The song was more actively written in Korea than in China and it became more diverse as it was handed down. One thing to note related to it is that there were three aspects in which the song motif worked in the Korean literature style.
First, Korea shared the poetry of the song about the beautiful scenery of eight places in Suzhou and Sanjiang style with China but had a different attitude of accommodating it. The poetry in China tried to contemplatively accommodate the eight landscapes of the song and started from the desire to sing it after adding to a melody. This also continued in Korea. However, when it came to the Sa Chinese style of writing, it was written as literati lyrics since the Korean literary people were not accustomed to the trend of literature. Furthermore, Korea handled conflictual discords of reality or subjectivized moral contents by not remaining in contemplation but taking different directions in Chinese poetry.
Second, Korea independently transformed the song motif and materialized it in Korean poetry style. The symbol of the song motif, which had been established in China, was tailored to the aesthetic consciousness of the noblemen of the Joseon Dynasty since they materialized their enjoying the beauty of nature and having a leisurely life(江湖閑情), mind of yearning for the king, frailty of life, and literary world of enjoying nature after transforming the motif.
Third, the song motif in Korea played an instrumental role in constructing the contents and the themes of works in saseol of pansori. When water appeared in pansori works, the song motif was included without exception. ‘Beompijungnyu’ in <Simcheongga>, ‘Jebinojeongki’ in <Heungbuga>, and ‘Gogocheonbyun’ in <Sugungga> described beautiful scenery through the song motif. Also, in ‘The Hwangreung Grave Dream Saseol’ or ‘Hongryeong Part’ in <Simcheongga>, there are the scenes when Chunhyang and Simcheong were comforted by the two wives of Emperor Shun - the song motif - with regard to fidelity and filial piety. This is intimately related to the realization of the themes of <Chunghyangga> or <Simcheongga>. Furthermore, in <Simcheongga>, the song was sung and became an independent tanga or an independent folk song.
As mentioned so far, the song motif was originally formed in China but became diverse after it was introduced in Korea. Moreover, Korea created a new literary world by independently accommodating the motif in Chinese poetry, Korean poetry, pansori, and so on.

참고문헌 (Reference)

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