후지와라 데이카(藤原定家)의 美意識 ‘요염(妖艶)’에 관한 고찰
A Study on Fujiwara no Teika(藤原定家) Asthetics Consciousness "Yoen(妖艶)"
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After the establishment of the Samurai government(Shogunate) in the early medieval Japan, the aristocracy experienced political and cultural transformation. The members of the aristocracy had to maintain the traditions of Waka(和歌) as the spirit of Japanese aesthetics. In the midst of chaos, Fujiwara no Teika attempted to set up Yojo(余情) and Yôen(妖艶) as key components of the aesthetic consciousness. Yojo(余情) and Yôen(妖艶) were channels for the innovation of Waka(和歌) that tide people over turbulent times. Moreover these two concepts performed the function of Ushin(有心) that Fujiwara no Teika advocated as aesthetic consciousness most powerfully in his poetics. A general definition of Ushin(有心) is an inclusive concept that embraces different poetic styles. This study discusses the process of reinterpreting the purity of Yojo(余情) and Yôen(妖艶), which were denied by 『Kokinwakashu(古今和歌集)』.Yojo(余情) and Yôen(妖艶) which Teika’s refered to as his poetic and critical terms where he critiqued Utawase(歌合), are analyzed letter by letter. Yô(妖) has fundamental femininity and unworldliness, while En(艶), at one time, has femininity compromised aggressively by reality. Ultimately, at the pinnacle of Yojo(余情) and Yôen(妖艶) is Ushin(有心). In conclusion, Yô(妖) is a concept of aesthetic consciousness not only with femininity but also with extramundane and mystical characteristics. On the other hand, En(艶) has a strong aesthetic pull towards present and reality. In sum, Teika’s literary orientation he sought in Yôen(妖艶) was a primary channel to the comprehensive aesthetic consciousness of Ushin(有心) that allows the restoration of lyricism.
Abstract
After the establishment of the Samurai government(Shogunate) in the early medieval Japan, the aristocracy experienced political and cultural transformation. The members of the aristocracy had to maintain the traditions of Waka(和歌) as the spirit of Japanese aesthetics. In the midst of chaos, Fujiwara no Teika attempted to set up Yojo(余情) and Yôen(妖艶) as key components of the aesthetic consciousness. Yojo(余情) and Yôen(妖艶) were channels for the innovation of Waka(和歌) that tide people over turbulent times. Moreover these two concepts performed the function of Ushin(有心) that Fujiwara no Teika advocated as aesthetic consciousness most powerfully in his poetics. A general definition of Ushin(有心) is an inclusive concept that embraces different poetic styles. This study discusses the process of reinterpreting the purity of Yojo(余情) and Yôen(妖艶), which were denied by 『Kokinwakashu(古今和歌集)』.Yojo(余情) and Yôen(妖艶) which Teika’s refered to as his poetic and critical terms where he critiqued Utawase(歌合), are analyzed letter by letter. Yô(妖) has fundamental femininity and unworldliness, while En(艶), at one time, has femininity compromised aggressively by reality. Ultimately, at the pinnacle of Yojo(余情) and Yôen(妖艶) is Ushin(有心). In conclusion, Yô(妖) is a concept of aesthetic consciousness not only with femininity but also with extramundane and mystical characteristics. On the other hand, En(艶) has a strong aesthetic pull towards present and reality. In sum, Teika’s literary orientation he sought in Yôen(妖艶) was a primary channel to the comprehensive aesthetic consciousness of Ushin(有心) that allows the restoration of lyricism.
참고문헌 (10)
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