元服屬期 신흥사대부의 계급의식과 安軸의 경기체가

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서울대학교 규장각한국학연구원
한국문화, Vol.30, pp. 61-83
Though the literary style or area particularly known as the 'Gyeonggi-Chaega' is believed to have been one of the most typical types of metrical compositions which were usually composed or written by the newly-arisen Scholar-officials, there does not seem to be much of apparent awareness of the real world mirrored in the compositions written during the Yuan occupation period. This research, however, intends to clarify the meaning of the awareness of reality mirrored or detected in the Gyeonggi-Chaega writings written by An Chuk, and in order to do that this researcher will try to theorize the relationship between the scholar-officials' ways of viewing the world, and the Gyeonggi-Chaega compositions written by them.

In a difficult time for the country, and in a time when issues regarding the social classes were generating severe clashes inside the society, the Scholar-officials' class-consciousness led them to perceive the mother nature as a concept of universality, and the general public as individual objects, and themselves(the ones responsible for national ruling, or organizing the flow of a trend, etc.) as the ultimate medium for the previous two. They metaphysically positioned themselves inside the world of the Neo- Confucianist philosophies, and the Gyeonggi-Chaega compositions were their ways of schematizing such consciousness.

Usually An Chuk's Gyeonggi-Chaega writings' each stanzas are respectively comprised of 6 lines, which all offer special meanings to the relationship of individual objects, and deduce a generalized meaning from the beauty of a particularly selected scene or object. The first, second and third lines usually serve the task of 'establishing special meanings and suggesting them', while the 5th and 6th lines serve the generalization process. And most importantly, the 4th line usually serves as a line praising the roles of the rulers or the organizers. This kind of sequence is constantly being repeated inside the entire text.

One of his compositions, the 「Gwandong-Byeolgok」, depicts the beautiful scenery meeting the rulers' generous intentions and let the readers witness the changes of their own ways of life, while another piece of his own. the 「Jukgyae Byeolgok」, depicts his own hometown Sunheung's 4 seasons being cared for under the rulers' 'sincere' intentions. Originally the Gyeonggi Chaega compositions only depicted the newly-arisen Scholar-officials self-confidence (which might have been almost arrogant in nature), but later during the time period when the Neo-Confucianist philosophies were being introduced to this peninsula, they began to assume responsibilities to the public individuals or objects.
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Kyujanggak Institute for Korean Studies (규장각한국학연구원)Korean Culture (한국문화) Korean Culture (한국문화) vol.30 (2002)
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