「玉屑華談」의 疏通 樣相과 通俗性

Abstract

Okseolhwadam that I studied in this paper is an interesting material which shows an aspect Gasa’s popularization in the late Joseon Dynasty period. Twenty one versions of Okseolhwadam display that it has the sound basis of circulation in the late Joseon Dynasty period. I generally identified that Okseolhwadam had been created from the late 18th centuries to the early 19th centuries and had been widely circulated till the early 20th centuries. It was widely circulated not only in the cultural area of women’s Gasa but in the cultural area of the street like Pansori. Okseolhwadam established the sound basis of circulation like this because the described world in Okseolhwadam properly included the people’s popular desire of those days. The most blessed life stages of the ordinary persons, expressed by the ideal life of an official and the image of retrospect-oriented. Even if they could not complete their wish, they could hope that their descendants will be rising in the world and gaining fame. Such desire was connoted in Okseolhwadam. The contents of popular desire described in Okseolhwadam are same as Namja-ga, Gasa and Pyeongsaeng-do which is a folk painting. And we can find similar works among Saseolsijo. And I suggested that Okseolhwadam possibly could be a model of Namja-ga. Namja-ga was made on the basis of Okseolhwadam which was widely circulated in the late 19th centuries. And then, it included a lifetime ceremony was described in Pyeongsaeng-do and enlarged the part of amusement.