한일 양국에 있어서 中國 ‘西湖’의 수용과 정착

Abstract

The Chinese culture related to Seehu was introduced to Korea and Japan through literature. In Korea, nobility served as a medium of transmission, while the same role was played by monks in Japan. After the influx of <Seehu-Tourist Book> and <Seehu-drawing>, Seehu was enjoyed as a significant icon of writers and painters from the 16th to the 19th century. In Korea, Lin-Bu's hideout in Seehu became the object of longing. Korea also built a poetry culture by adopting the image of seclusion and the excursion culture from Chinese Seehu at the namesake venue on the Han River. Meanwhile, Japan focused on the person, crystallized in the saying "Without Lin-Bu, Seehu is nothing but a lake." And as a panoramic view of Seehu was drawn by a monk who saw and experienced Chinese culture, the image of the entire Seehu was established and represented in the form of a garden. Both Korea and Japan accepted it as the image of seclusion focused on Lin-Bu. While Korea built a poetry culture of the Han River by embracing Seehu's excursion culture with Lin-Bu's seclusion idea, Japan has created a Japanese-style garden that can realize seclusion. The two countries created a poetic and garden culture as landscape culture, which was influenced by the differences in nature.