『靑樓韻語』 판본 연구

Abstract

Up to now we have examined existing findings by reviewing previous studies on the topic. The master’s thesis under the title 『The culture of romance during Ming Dynasty, which is reflected by an old Chinese book – “Qing-Lou-Yun-Yu”』 has been the one and only thesis on 『QingLouYunYu』 up to this point. Though this master’s thesis includes all the basics, it is rough on the specifics and fails to make a multidimensional analysis. Therefore a detailed study must be done, starting out with studying 『QingLouYunYu』’s printed versions which is the most basic step to examining the topic. In the main body of the text our team conducted a detailed comparative analysis on the printings of 『QingLouYunYu』 which was procured during data research and field investigation. Until now, we have identified five different printed editions of the book in question:1. 44 years of Emperor Ming Wanli, a woodblock-printed book 『QingLouYunYu』2. 6 years of Emperor Ming Chongzhen, a second[revised] edition 『XianQingNuSi』3. 3 years of The Republic of China Saoyeshanfang, a stoneblock-printed book 『QingLouYunYu』4. 3 years of The Republic of China Tongyongyinju, a facsimile edition 『QingLouYunYu』5. 24 years of The Republic of China Zhongyangshudian, a second [revised] edition 『QingLouYunYu』In a nutshell, the existing printings of 『QingLouYunYu』 differ to an extent in terms of bibliographic elements, such as the structure of the printed page, character type, order of the preface, added prefaces, style rules of the main text, placing and amount of engravings, etc. which vary according to period and publisher, but in terms of content there is no remarkable difference and all versions seem to be akin to each other, with the woodblock-printed 44 years of Emperor Ming Wanli edition as the original copy. Since the woodblock-printed 44 years of Emperor Ming Wanli is the original copy of all other versions, it should be the one used for academic purposes. However, if the past opinion of literary figures on『QingLouYunYu』 should be examined through the preface, even 『QingLouYunYuBianYan』 which only appears in the Tongyongyinju facsimile edition should be included. Also, if engravings, which are one of the biggest features of 『QingLouYunYu』, should be studied, the variations in form and amount in each of the editions along with that in the original copy must be closely analyzed. In other words, choosing the appropriate one among the five versions is required according to the subject and angle of the study. We look forward to being helpful to full-fledged, future studies on 『QingLouYunYu』, as this thesis analyzes and compares the basic bibliographical elements and different aspects of the five printed versions.