琴과 거문고의 악기 비교연구

Abstract

A Comparative Approach to the Chinese Ch'in and Korean Kŏmun'go Nam In-sun Although the Chinese character, kŭm 琴 (ch'in in Chinese) in Sino-Korean, has been used in the literary sources of both China and Korea, its connotative meaning is different between two countries. The purpose of this paper is, therefore, to investigate its various examples appeared in Korean and Chinese literatures and to find out the correct meaning of the musical term kŭm on the basis of a current Sino- Korean dictionary, i.e. Chunghan sajŏn ꡔ中韓辭典ꡕ published by Korea University in 1990. This paper consists of four sections：Introduction, 1. The Term Kŭm in the Chunghan sajŏn, 2. A Comparison between Chinese Ch'in and Korean Kŏmun'go, and Conclusion. On the basis of an intensive examination of the term used in Korean and Chinese literature, the author points out the followings in conclusion. The common point of Chinese ch'in and Korean kŏmun'go has been a favourite stringed instrument for traditional gentlemen or scholars of both Korea and China. On the other hand, the different points of two stringed instrument are the followings：1) There are six strings in a kŏmun'go, while seven strings in a ch'in; 2) Kŏmun'go would be played by a slim rod called suldae 술대(匙), while ch'in, by both fingers; 3) Kŏmun'go player sits on the bare ground and puts the instrument on his knee, whereas ch'in player sits on a chair and puts the instrument on the table.