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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Thousand Character Classic which is cmpiled by Zhou Xingsi(周興嗣) of Liang Dynasty has been utilized as a chinese language primer, calligraphy workbook, chinese poetry textbook and primer for the study of chinese canonical texts in three east asian countries. From early on, a basic primer book with one pronunciation and translation for each chinese character in standard calligraphy(楷書體) was published in Korea. Also, there were various forms of calligraphy workbook such as Thousand Character Classic in standard and cursive calligraphy(眞草千字文), Thousand Character Classic in cursive calligraphy(草千字文)』, Thousand Character Classic in seal calligraphy(篆千字文), Thousand Character Classic in three types of calligraphy(三體千字文), Thousand Character in four types of calligraphy(四體千字文).
The traditional calligraphy workbook generally consisted of calligraphy for chinese characters without accompanying translation and pronunciation. However, the publication of Thousand Character Classic in Four types of Calligraphy(四體千字文) with translation and pronunciation was increased from the Enlightenment period to the Japanese Occupation. As the title suggests it was originally intended as a calligraphy workbook, but its actual format was much closer to a chinese language primer. The appearance of this new form of Thousand Character Classic with ‘four types of calligraphy’, ‘iconography’ and ‘annotation’ reflects the change of the times.
During the same period 『Thousand Character Classic in three types of calligraphy(三體千字文) was published in Japan. The korean translation in Thousand Character Classic in four types of calligraphy was based on the literal meaning of each chinese character. On the contrary, the japanese translation in Thousand Character Classic in three types of calligraphy was based on the contextual meaning of each chinese character. Thus, while the korean version utilized the literal or commonly-used translation, the japanese version preferred the contextual translation. In terms of annotation, the basic content of two different versions were almost identical. However, the korean version was annotated by phrase and the japanese version was by strophe.
The traditional calligraphy workbook generally consisted of calligraphy for chinese characters without accompanying translation and pronunciation. However, the publication of Thousand Character Classic in Four types of Calligraphy(四體千字文) with translation and pronunciation was increased from the Enlightenment period to the Japanese Occupation. As the title suggests it was originally intended as a calligraphy workbook, but its actual format was much closer to a chinese language primer. The appearance of this new form of Thousand Character Classic with ‘four types of calligraphy’, ‘iconography’ and ‘annotation’ reflects the change of the times.
During the same period 『Thousand Character Classic in three types of calligraphy(三體千字文) was published in Japan. The korean translation in Thousand Character Classic in four types of calligraphy was based on the literal meaning of each chinese character. On the contrary, the japanese translation in Thousand Character Classic in three types of calligraphy was based on the contextual meaning of each chinese character. Thus, while the korean version utilized the literal or commonly-used translation, the japanese version preferred the contextual translation. In terms of annotation, the basic content of two different versions were almost identical. However, the korean version was annotated by phrase and the japanese version was by strophe.
목차
1. 序論
2. 시대적 변화에 따른『千字文』의 간행과 ‘四體’ 『千字文』의 출현
3. ‘四體’『千字文』과 일본판 ‘三體’ 『千字文』의 形式과 內容
4. 結論
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UCI(KEPA) : I410-ECN-0101-2014-800-003642538