『서상기 』 삽화의 시적 의경과 주제 전환 (Poetic Realm and Theme Conversion of The Romance of West Chamber Illustrations in the Ming Dynasty)

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초록

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 of West 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.

영어초록

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 of West 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.

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