印刷出版與朝鮮「武夷九曲」文化意象的「理學化」建構

石守謙、廖肇亨主編：《轉接與跨界──東亞文化意象之傳佈》(臺北：允晨出版社，2015年6月)，頁351-388。

福建武夷山向以「三三秀水」、「六六奇峰」美景聞名，「三三秀水」指的便是因大王峰、玉女峰等三十六座奇峰而蜿蜒迴轉的九曲溪。西元1184年，即朱熹（1130- 1200）在九曲溪第五曲處建「武夷精舍」講學後一年，朱熹與友人遊武夷九曲溪，仿照民間船歌的形式，作〈淳熙甲辰中春精舍閒居戲作武夷櫂歌十首呈諸同遊相與一笑〉（本文簡稱〈武夷櫂歌〉Wu-yi Boating song）。朱熹的〈武夷櫂歌〉共十首，第一首為序曲，其後依一曲、二曲的順序，分別歌詠九曲溪各曲的風光景致。

隨著朱熹著作東傳韓國，「武夷九曲」文化意象也流入韓國。本文以朝鮮理學家李退溪為例，觀察李退溪對「武夷九曲」的知識來源。

作者發現：李退溪對出版元代陳普註解朱熹〈武夷櫂歌〉的推助之功。陳普的註解，引發朝鮮儒者的討論，焦點正是朱熹〈武夷櫂歌〉是否如陳普所認為的──「純是一條進道次序」，也就是「武夷九曲」的理學內涵。朝鮮儒者的辯析，到了正祖（1752-1800）編選朱子詩《雅誦》時被官方定調，可視為「理學化」的完成。

Printing Publication and the “Wu-yi Nine Gorges” Culture Images related with Neo-Confucianism in Joseon Dynasty Korea

The Wuyi Mountains are a mountain range located in the Fujian province of China. It is well-known for its tranquil beauty and natural splendour. The Nine Bend River (Jiuqu xi) meanders amongst thirty-six peaks in Wuyi Mountains, like Dawang Peak and Yunu Peak.

In 1184, one year after Neo-Confucianist Zhu Xi (1130 – 1200) established Villa Wuyi at the fifth bend for teaching and lectures, Zhu Xi together with his friends, toured the Nine Bend River. Inspired by the songs sang by the boating folks, he composed “Chunxi Jiachen Zhongchun Jingshe Xianju Xizuo Wuyi Zhaoge Shishou Chengtong Zhutong Youxiang Yuyixiao” (This article refers to this work as “Wuyi Jiuqu”) in tribute to the magnificence of the Wuyi Mountains. There are ten pieces of music compositions in Zhu Xi’s work. This work starts off with the prelude; subsequently, the pieces praise the picturesque scenery of each bend according to the ascending number of the bend respectively.

When Zhu Xi’s work reached Joseon Korea, Jiuqu cultural ideologies also spread eastwards into Joseon. This article is a case study of Neo-Confucianist Li Tuixi and traces the paths of his knowledge sources of Wuyi Jiuqu. Li Tuixi is exalted as a master in Neo-Confucianism.  

The study reveals that Li Tuixi was a powerful advocate for the publication of Chen Pu’s commentaries on Zhu Xi’s Wuyi Jiuqu. Chen Jin’s commentaries triggered a discussion amongst Joseon Neo-confucian scholars. The main crux of the discussion is Chen Pu’s interpretation of “Wuyi Boating Song” as “progression” being the spiritual essence or spiritual foundation of Neo-Confucianism. The analysis of Joseon Neo-Confucianists was officially adopted during King Zheng’s reign (1752 – 1800) at the compilation of Zhu Zi’s poetry and proses. One may view this significance as the completion of rationalism.   

     

印刷出版與朝鮮「武夷九曲」文化意象的「理學化」建構 from lofen

朱熹〈武夷櫂歌〉與朝鮮理學家李退溪的次韻詩

王利民，武海軍主編：《第八屆宋代文學國際學術研討會論文集》(廣州：中山大學出版社，2015年9月)，頁532-539。

西元1184年，朱熹與友人舟遊武夷山九曲溪，仿照民間船歌的形式，作〈淳熙甲辰中春精舍閒居戲作武夷櫂歌十首呈諸同遊相與一笑〉詩（本文簡稱〈武夷櫂歌〉）。

朝鮮理學家李滉於1547年作朱熹〈武夷櫂歌〉次韻詩。大約十二年後，李滉修訂了〈武夷櫂歌〉組詩的最後一首。

本文解讀朱熹〈武夷櫂歌〉和李滉的次韻詩，分析李滉更改詩作的原因，從而比較兩人〈武夷櫂歌〉之思想內涵。

朱熹《武夷棹歌》與朝鮮理學家李退溪的次韻詩 from lofen

遊觀與求道：朱熹〈武夷櫂歌〉與朝鮮士人的理解與續作

西元1184年，朱熹（1130-1200）仿照民間船歌的形式，作〈淳熙甲辰中春精舍閒居戲作武夷櫂歌十首呈諸同遊相與一笑〉詩（本文簡稱〈武夷櫂歌〉），詩中記敘與友人舟遊武夷山九曲溪的風光。

朝鮮理學家李滉（1501-1570）於1547年作朱熹〈武夷櫂歌〉次韻詩。大約十二年後，李滉修訂了〈武夷櫂歌〉組詩的最後一首。

本文解讀朱熹〈武夷櫂歌〉和李滉的次韻詩，分析李滉更改詩作的原因。從朝鮮士人的討論以及續作的〈武夷櫂歌〉次韻詩，作者發現李滉的觀點幾乎不被認同。

研究指出：朱熹詩表達的是「山水遊觀」的興味；朝鮮士人則認為其中蘊含「山水求道」的隱喻。李滉和其他朝鮮士人的歧見，在於武夷第九曲是否即求道的終極。

關鍵詞：朱熹。武夷櫂歌。理學。朝鮮時代。山水

 (香港)《中國文化研究所學報》60期(2015年1月)，頁53-71

In year 1187, Zhu Xi （1130-1200） wrote 10 poems called “Wuyi Boating Song”, which imitated the local boating songs, described the scenery of mountain Wuyi and Jiuqu（nine bends） stream. 

Li Huang （Tuixi, 1501-1570），a Korean confucianist scholar in Joseon dynasty compiled tread rhyme poetry of “Wuyi Boating Song” in 1547, and he made a final edition 12 years after.

This paper aims to interpret the meaning of Zhu Xi’s “Wuyi Boating Song” and Li Huang’s version. From the discussion of Joseon dynasty scholars, Li Huang’s points of view shown in his version of “Wuyi Boating Song” are not well accepted.

My research indicated that Zu Xi was trying to express the idea of “山水遊觀”（wandering landscape）, which inculcate the metaphor of “山水求道”（pursuing truth）. The main reason why Li Huang was having different interpretation with other Korea scholars is based on the argument of “The Ninth bend of Wuyi” poem, whether it is the ultimate of “truth”.

Keywords: Zhu Xi, Wuyi Boating Song, Confucianism, Joseon dynasty, landscape 

from lofen

從文化意象理解東亞文明：以「武夷九曲」詩畫的「理學化」與「朝鮮化」為例

韓國延世大學校 國語國文學科 BK21事業團 學術講座

主講人：衣若芬
時間：2013年2月15日上午10點30分
地點：延世大學新村校區  為堂館301室


摘要

對於東亞文明的理解，尤其是古代以漢字為主要共同溝通工具的文化圈，除了個別國家和民族的歷史脈絡，在涉及文化構成、文化交流，以及文化特質的探討時，過去的研究方法和重點，大致可以歸納為以下幾種：


一， 起源與影響。

二， 受容與變容。

三， 引導、傳播、接收、普及的媒介─人、物與地域等。

本講座希望提出另一種研究思路和角度，從「文化意象」的課題進行考察，以「武夷九曲」為例，討論「武夷九曲」詩畫在韓國朝鮮時代的發展情形。本講座的內容可分為三部分：

一， 介紹個人研究背景。

二， 提出「文化意象」研究視角。

三， 以「文化意象」研究視角研究朝鮮時代「武夷九曲」詩畫。

문화意象으로부터 이해한 東亞文明：

「武夷九曲」詩畫의 “理學化” 및 “朝鮮化”를 예로 들어

개요: 동아시아 문명, 특히는 고대에 한자를 주요한 소통도구로 삼았던 문화권에서는 일부 국가와 민족의 역사맥락을 제외하고 문화구성, 문화교류, 문화特質을 探究할 적의 연구방법과 중점은 대체적으로 아래와 같은 몇 가지로 귀납할 수 있다. 1. 起源과 영향 2. 수용과 變容 3. 引導, 전파, 접수, 普及의 媒介─人、物와 地域 등 본 강좌는 새로운 研究思路를 발견하고 「文化意象」의 각도로 「武夷九曲」를 예로 들어 고찰하며 「武夷九曲」詩畫가 한국 조선시대에서의 발전정황을 고찰하는데 목적을 두고 있다. 본 강연의 내용은 아래와 같은 세 가지 부분으로 구성되었다. 1. 개인 연구배경에 대한 소개 2. 「文化意象」에 대한 연구視角의 提出 3. 「文化意象」의 연구視角으로 探討한 조선시대 「武夷九曲」詩畫

宋代「武夷棹歌」中的地景空間與文化意蘊

「宋代「武夷棹歌」中的地景空間與文化意蘊」。《東華人文學報》第20期(2012年1月)，頁33-58。

福建省武夷山為中國東南名山，《史記．封禪書》有祭祀武夷君用乾魚的記載，一般認為武夷君即彭祖籛鏗之二子，長為「武」，次為「夷」，職掌兵死。武夷山被道教奉為三十六洞天之第十六洞天；隋唐之際，佛教傳入，武夷山也成為佛教聖地。
西元1183年，理學家朱熹(1130-1200)在武夷山建「武夷精舍」，於此講學著述十餘年，培育後進，受業者達二百多人，故而有「當今道在武夷」，譽武夷山為「道南理窟」。朱熹歌詠武夷山的詩文中，作於1184年的〈淳熙甲辰中春精舍閒居戲作武夷棹歌十首呈諸同遊相與一笑〉(簡稱〈武夷棹歌〉)模仿棹歌的形式，賦詠了武夷山九曲溪的景致。
朱熹之後，辛棄疾、歐陽光祖、方岳等人都寫過〈武夷棹歌〉。〈武夷棹歌〉依序吟詠武夷山九曲溪之各曲風光，本文擬分析宋代「武夷棹歌」中對九曲溪的描繪，以及富含神話傳說、民間故事和理學家思維的文化意涵。

Landscape and Culture in the Wu-yi Zhao Ge (Wu-yi Boat Song) of Song Dynasty. Dong Hwa Journal of Humanities 20(Jan. 2012), pp.33-58

Keywords: Wu-yi mountain. Wu-yi Nine Bends. Boating song. Zhu Xi. Landscape.  Culture

Wu-yi is a famous mountain located in the southern part of China. There is a record shown in the “Shi Ji.Feng Chan Shu” using dried fish as an offering to Wu-yi Jun( Gods of Wu-yi mountain). People believed that the Wu-yi Jun were Peng Zu Qian Keng’s two sons: the first son being “Wu” while the second son was “Yi”; and that both of them took charge in military and death related issues. The Taoist revered Wu-yi Mountain and believed it to be the “Sixteenth Dong Tian”. During the Sui and Tang dynasties, Wu-yi Mountain was regarded as the holy land of Buddhism as well.

In 1183, Neo-Confucianist Zhu Xi (1130-1200) built a villa in Wu-yi mountain and called it “Wu-yi Jing She”. He conducted lectures and provided enriching thinking to his followers for more than ten years, which has subsequently benefitted more than two hundred students. In 1184, Zhu Xi composed the “Wu-yi Nine Bends” to express his appreciation for Wu-yi mountains and scenery.

There were other poets after Zhu Xi who wrote about “Wu-yi Boating Songs”, some of them include Xin Qi Ji, Ou Yang Guang Zu and Fang Yu. According to the contents in “Wu-yi Boating Songs”, they describe the beauty of “Wu-yi Nine Bends”. This paper aims to analyze how “Wu-yi Boating Songs” in the Song Dynasty were used to describe the “Wu-yi Nine Bends”, as well as the myths, folk tales and the cultural implication of the Neo-Confucian thinking in “Wu-yi Boating Songs”.  

宋代「武夷棹歌」中的地景空間與文化意蘊

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