지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper defines the main changes that occurred in the illustrations of The Romance of the West Chamber during the late Ming Dynasty, the golden age of publishing, as expressions of “poetic realm”[詩的意境], explains them by applying “The theory of blending feelings and scenery”[情景交融論] in Chinese poetry, and traces how the themes seen by illustration painters changed as a result.
In the Rongyutang version[容與堂本] published in 1610(Wanli 38), illustrations consisting of landscape paintings appeared, but the narrative elements in the illustrations decreased and the “poetic realm” centered on the scenery became popular. Here, we focus on dividing the components in the painting into character elements and background elements, and try to correspond them to the two elements of “Qing”[情] and “Jing”[景] in “The theory of blending Qing(feelings) and Jing(scenery)” in Chinese traditional poetry. If illustrations that focus on people and events are based on “Qing,” then illustrations in Wanli’s later period that properly balance landscapes and people can be seen as a good blend of “Qing” and “Jing.” If only landscapes appear in the story illustration, “Jing” is dominant, but if it shows the emotions of the people, it can be seen as a well-drawn painting called “Qing in the Jing.”[景中情] Also, even if “Jing” is dominant when viewed quickly, such as in a panoramic style, if the emotions of the people are expressed in a metaphorical way, it can be said to be superior because it uses the “Xing”[興] method. In this way, when looking at the changes in Ming Dynasty illustrations from the perspective of “The theory of blending feelings and scenery,” not only can the process of change be clearly seen, but also the superiority or inferiority of the illustrations can be understood.
The “poetic realm” that appeared in Wanli after the later period also influenced the interpretation of The Romance ofWest Chamber, and it was seen that a transformation occurred in three major aspects. In other words, in the aspect of the form of the illustration, story time was transformed into figurative space, in the aspect of the content, psychological conflict was transformed into poetic emotion, and in the aspect of the theme, love was transformed into melancholy. As a result, in the illustration, the northern climate was transformed into the lush region of Jiangnan, the strict temple was transformed into a tranquil garden, and the love story of a young man and woman was transformed into the warm and gentle breeze of a literati.
In the Rongyutang version[容與堂本] published in 1610(Wanli 38), illustrations consisting of landscape paintings appeared, but the narrative elements in the illustrations decreased and the “poetic realm” centered on the scenery became popular. Here, we focus on dividing the components in the painting into character elements and background elements, and try to correspond them to the two elements of “Qing”[情] and “Jing”[景] in “The theory of blending Qing(feelings) and Jing(scenery)” in Chinese traditional poetry. If illustrations that focus on people and events are based on “Qing,” then illustrations in Wanli’s later period that properly balance landscapes and people can be seen as a good blend of “Qing” and “Jing.” If only landscapes appear in the story illustration, “Jing” is dominant, but if it shows the emotions of the people, it can be seen as a well-drawn painting called “Qing in the Jing.”[景中情] Also, even if “Jing” is dominant when viewed quickly, such as in a panoramic style, if the emotions of the people are expressed in a metaphorical way, it can be said to be superior because it uses the “Xing”[興] method. In this way, when looking at the changes in Ming Dynasty illustrations from the perspective of “The theory of blending feelings and scenery,” not only can the process of change be clearly seen, but also the superiority or inferiority of the illustrations can be understood.
The “poetic realm” that appeared in Wanli after the later period also influenced the interpretation of The Romance ofWest Chamber, and it was seen that a transformation occurred in three major aspects. In other words, in the aspect of the form of the illustration, story time was transformed into figurative space, in the aspect of the content, psychological conflict was transformed into poetic emotion, and in the aspect of the theme, love was transformed into melancholy. As a result, in the illustration, the northern climate was transformed into the lush region of Jiangnan, the strict temple was transformed into a tranquil garden, and the love story of a young man and woman was transformed into the warm and gentle breeze of a literati.
목차
1. 문제 제기
2. 명대 후기 삽화의 시적 의경
3. 정경론(情景論)으로 본 삽화의 시적 의경
4. 『서상기』 삽화의 주제 전환
5. 결론
參考文獻
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
악각본『서상기』 삽화의 특징과 표현 효과
중국문화연구
2017 .11
-
『서상기』 삽화의 이지동도와 주제의 연역
중국문화연구
2022 .11
-
고등학교 생물교과서에 나타난 삽화에 대한 횡단적 연구 : 세포’ 단원을 중심으로
호서문화논총
2015 .02
-
삽화가 초등영어 학습자의 어휘 학습에 미치는 영향
초등영어교육
2022 .06
-
명대 말기 ‘도상의 범람’ 과 삽화에 대한 인식
중국어문학논집
2015 .06
-
청대 홍루몽의 판본삽화와 대중전파
중국어문논총
2017 .01
-
정전둬(鄭振鐸)의중국전통판화연구에관한고찰 - 삽화를 중심으로
중국어문학논집
2022 .10
-
한국 현대동화의 삽화 연구
동화와 번역
2021 .12
-
초급 일본어 교재의 삽화 분석 연구
일어일문학
2025 .02
-
한국과 일본의 중학교 국어 교과서 삽화 연구 - 개정 전후 교과서의 통시적 비교를 통하여 -
일본연구
2022 .09
-
『매일신보』 역사소설 삽화의 구성과 재현 양상 : 삽화가 이승만의 작품을 중심으로
춘원연구학보
2018 .06
-
한국 근대 소설 삽화와 '얼굴'의 형상화
한국근대문학연구
2024 .10
-
해방기 삽화의 풍경 ─ 신문연재 장편소설을 중심으로 ─
국어문학
2023 .07
-
조선 후기 실학파의 삽화에 대한 인식 - 한·중 비교의 관점에서
중국어문학논집
2024 .06
-
다시 새로운 시론을 위하여
어문론총
2019 .01
-
김수영 시론의 원점으로서의 포로체험
한국시학연구
2019 .11
-
포스트휴먼 로맨스와 감성적 진화: 여성 과학소설로 본 테크노사이언스적 사랑의 의미와 욕망
영미문학페미니즘
2016 .01
-
명·청시기 통속문학과 출판문화 연구 - 『서유기』 소설 삽화본을 중심으로 -
비교민속학
2019 .08
-
『源氏物語』における「命」の表現性
일어일문학연구
2015 .02
-
중국 현지 출판 한국어 초급 교재의 삽화 분석
어문연구(語文硏究)
2022 .06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-151-25-02-092494846