東亞視野下的海東青意象研究 ― 以中韓古代海東青詩歌比較研究爲中心

Abstract

This paper focuses on the comparative study of ancient gyrfalcon poetry in China and Korea, and examines gyrfalcon imagery from the perspective of East Asia. First of all, the author compares ecological characteristic and origin of the gyrfalcon in the ancient literature and poetry records of the two countries; then compares the general situation of the creation of the gyrfalcon poetry in the two countries, and focus on the analysis of the differences in the image of the gyrfalcon. In terms of creation scale, China collected 299 poems with 262 titles from 188 poets from the Sui and Tang Dynasties to the Qing Dynasty; South Korea collected 103 poets with 144 titles and 189 poems from Silla to Joseon Dynasty. In terms of the creative team, the emperor, clan, and literati are the major poet, but in China, Emperor Qianlong of the Qing Dynasty and Zhu Youdun, the clan of the Ming Dynasty, were the main poets. In South Korea, Gao Jingming, a civil servant in the middle period of Joseon Dynasty, Xu Juzheng, in the early period of Joseon Dynasty, and King Sujong in the late Joseon Dynasty, were the main poets. In terms of creative genres, poems with paintings in both countries account for a relatively large proportion, but China mainly focuses on hunting pictures of Liao and Jin people, while South Korea mainly focuses on Li Yan's black and white gyrfalcons. In terms of the image of gyrfalcon, China mainly uses it as a symbol of peace, the name of hero and vassal state; while South Korea appears as an image of misery, nobleman's entertainment tool or national heroes. In terms of the use of the image of gyrfalcon, it has become a metaphor for Chinese talents and a term for explaining the truth of Buddhism, while South Korea is a synonym for talents.