祁彪佳의 정원을 주제로 한 張岱의 寓山詩
"The Poetic World of Zhang Dai(張岱) in the Late Ming and Early Qing Periods: Focusing on the Yushan(寓山) Poems about Qi Biaojia(祁彪佳)'s Garden"
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This paper primarily analyzes Zhang Dai(張岱)'s collection of 49 poems about Yushan (寓山). These poems depict the landscapes of the Usan gardens, a location associated with Zhang Dai's acquaintance, QiBiaoJia(祁彪佳), allowing us to examine the shared aesthetic awareness and aspirations of Zhang Dai, QiBiaoJia, and other literary figures of the same period. In the introduction, I briefly introduce Zhang Dai's poetic world and outline the Yushan space and the creative activities that took place there, which are the main focus of this paper. The main body examines the 49 Yushan poems through three perspectives: participatory space, aesthetic design, and aesthetic orientation. In terms of participatory space, it is analyzed that the landscapes in the Yushan poems are not merely observed but are completed through participation—such as reading, enjoying moonlight, and walking along fragrant embankments. Next, in terms of aesthetic design, I argue that this participatory space was intentionally planned from its conception. Lastly, in terms of aesthetic orientation, I explore the underlying aims of this landscape design and its appreciation. Ultimately, these landscapes embody an aesthetic aspiration to abandon officialdom and return to a simple, natural life, as evidenced through the names and themes of several landscapes.
Abstract
This paper primarily analyzes Zhang Dai(張岱)'s collection of 49 poems about Yushan (寓山). These poems depict the landscapes of the Usan gardens, a location associated with Zhang Dai's acquaintance, QiBiaoJia(祁彪佳), allowing us to examine the shared aesthetic awareness and aspirations of Zhang Dai, QiBiaoJia, and other literary figures of the same period. In the introduction, I briefly introduce Zhang Dai's poetic world and outline the Yushan space and the creative activities that took place there, which are the main focus of this paper. The main body examines the 49 Yushan poems through three perspectives: participatory space, aesthetic design, and aesthetic orientation. In terms of participatory space, it is analyzed that the landscapes in the Yushan poems are not merely observed but are completed through participation—such as reading, enjoying moonlight, and walking along fragrant embankments. Next, in terms of aesthetic design, I argue that this participatory space was intentionally planned from its conception. Lastly, in terms of aesthetic orientation, I explore the underlying aims of this landscape design and its appreciation. Ultimately, these landscapes embody an aesthetic aspiration to abandon officialdom and return to a simple, natural life, as evidenced through the names and themes of several landscapes.
