遊山記의 시공간적 추이와 그 의미

Abstract

In this paper, I am going to perform three works - the construction of Yusanki-database, the investigation of the spatio temporal distribution of Yusanki and the report of Yusanki-database as the basic material of the cultural sciences. According to time, space and theme, 347 works are gathered in this database. There are 51 works of Kuemkang(金剛) mountain among 347 works, it forms 15 percent. 134 mountains show in 347 works, but 78 percent of 134 mountains have one or two works. In 15th century the writing of Yusanki were of small number, in 16th century it increased gradually in number and in 17th and 18th century it increased rapidly in number. The works of Jiri(智異) mountain abound supremely in 15th century, but during Chosun(朝鮮) Dynasty, the works of Kuemkang(金剛) mountain ranks top. The mountains in Kyeongsang(慶尙) province were selected supremely as the subject matters. Toegae(退溪) and his disciples, Nammyoung(南冥) and his disciples, and the literary men in Kyeongsang(慶尙) province had relations with Cheongryang(淸凉) mountain, Jiri(智異) mountain and Kaya(伽倻) mountain each other. They wanted to project Neo-Confucian doctrines on mountains and attempted to harmonize self-culture with the excursion to mountains. In their works, these minds were expressed very well. Landscapes of the actual view are 638 pieces. Among them, landscapes of Kuemkang(金剛) mountain are 291 pieces, it forms 46 percent. Cheongryang(淸凉) mountain, Jiri(智異) mountain, Kaya(伽倻) mountain, Sokri(俗離) mountain and Samkak(三角) mountain were unnoticed nearly by landscape painters. Up to the present, this method of study is not introduced into Korean literature in classical Chinese. So I think that the experiment of this project affects the study of Korean literature in classical Chinese and the methodology.