18세기 조선과 일본 문단에서의 상고적 문학론의 배경과 그 추이

Abstract

This study examined the background in which antiquarianism was continually developed in both Joseon and Japan in the 18th century, as well as the detailed aspects of development in each country. Neo-Confucianism and the literary theory of the Song Dynasty significantly influenced both countries as the mainstream discourse in the 18th century, and antiquarianism was called for as an alternative to overcome these issues. In addition, consciousness of Little China that was rising at the time reinforced and expanded the logic of antiquarianism. Despite this common background, both Joseon and Japan expressed different views on classics and creation. While Shin Yu-han and Lee Yong-hyu preferred Wang Shizhen’s literature, they did not discuss his works as genuine classics, but rather tended to broadly accept and complement the accomplishments of all of the writers in history, including those during the Tang and Song dynasties. Moreover, they were cautious to avoid direct imitations of literary style, and they pursued stimulating thoughts by studying great classics. On the other hand, the writers of Ogyu Sorai’s school in Japan preferred Li Panlong’s literature in Qianhouqizi, emphasizing his works as essential classics, while not being open to other writers of the Tang and Song dynasties. They also emphasized repeatedly studying the classics and directly imitating literary style. These views are attributable to differences in the fundamental perception of Chinese literature and the “Tao” of each country. Joseon writers, who had a firm grounding in Chinese literature and who emphasized the internal disposition of “Tao,” aimed at reflecting their free thoughts on literature. On the other hand, Japanese writers, who had a poor grounding in Chinese literature and who emphasized the contrived nature of “Tao,” made it their legitimate task to reclaim the dignity of the classics through imitation. Writers of both Joseon and Japan in the 18th century shared common views on the meaning of antiquarianism, while also spinning off methodologies and purposes suitable for the environment of each literary world.