高麗本 『孝行錄』과 中國의 「二十四孝」

Abstract

The ≪Hyohaengnok(孝行録, Record of Filial Piety)≫ was completed by Kwon Bo's adding 38 pieces of Chinese Folklore of Filial Piety besides the Painting of the Twenty‐Four Filial Exemplars to the original version dedicated to himself, who is Kwon Jun's father.  The original version was composed of the Painting of the Twenty‐Four Filial Exemplars, which Kwon Jun had ordered up, and the comments added by Yi Chehyon. However, there exists distinction in the characters between the stories selected in the Painting of the Twenty‐Four Filial Exemplars for Record of Filial Piety and the contemporary Twenty‐Four Filial Exemplars circulated in China.   Archeologists excavated a large number of Painting of the Twenty‐four Filial Sons(二十四孝圖) in Song(宋), Jin(金), Yuan(元) tombs throughout Henan and Shandong Provinces. All of these Painting of the Twenty‐four Filial Sons are identical to the Twenty‐Four Filial Exemplars of the Record of Filial Piety. Given this, how can we explain the change in characters that had been consistent up to Yuan(元) Dynasty? Presumably it is due to the substitution of parts involving brutality or immorality such as cutting off of limbs or abandonment of a parent that occurred after Yuan(元) period. Therefore, the Twenty‐Four Filial Exemplars in the current Record of Filial Piety are the original Twenty‐Four Filial Exemplars that had been popular in the northern parts of China in Song(宋), Jin(金) and Yuan(元) periods. However, in Korea the Twenty‐Four Filial Exemplars developed into a moral and instructive text of Three Fundamental Principles and the Five Moral Disciplines in Human Relations with the addition of moral texts by Gwon Geun(權近). By contrast those transmitted to Japan, China and Vietnam became a major source of recreational literature with moral lesson. In this regard the Twenty‐Four Filial Exemplars can be seen as a valuable material for studying the commonness and difference within the East Asian culture as well as the cultural exchanges.