A study on The Acceptance of 『Jeon-ye Geumganggyeong』 by 『Jeon Jungyong』

Chul-seung Park
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Abstract

『Jeon Jungyong(篆中庸)』 is a book published by Park Young(朴詠) in 1544 by transcribing the main text of 『Jungyong janggu(中庸章句)』 in 33 types of Seal script. Since it is impossible to create all 33 styles by Park Young alone, this paper focused on identifying the reference book, 'Dangbon(唐本)', which he mentioned in the epilogue. However, until the Tang Dynasty, records of various character types belonging to Seal script were examined, but there was no extant data that could confirm the actual writings. A little bit, Wei Xu(韋續)'s 「56 style's writing(五十六種書)」 thought that there was a possibility of be a model. Because there are many types of Japchejeon(雜體篆) and explanations of the creative process. During the Northern Song Dynasty Jingde(景德, 1004-1007) years, Monk Dawken(釋道肯) added 「56 style's writing」 to <18 style's Seal script Monument(十八體篆書碑)」 and published 『32 style's Seal script Gold Sutra(三十二體篆書金剛經)』. The original disappeared early, but many reissue versions were produced afterwards. In 1288, 'the reissued by Ken monk’ version with a preface written by Chen Shuzhao(陳叔昭), 『Jeon-ye Geumganggyeong(篆隸金剛經)』 was introduced to Korea. This many woodblock versions still have survived to this day. It proves that the influence was great in the meantime. It is presumed that Park Young used this as a standard and published 『Jeon Jungyong』. 『Jeon-ye Geumganggyeong』 contains 32 types of japchejeon names, sources, and actual letter shapes. The 33 types of 『Jeon Jungyong』 coincide with the 29 types of 『Jeon-ye Geumganggyeong』. Afterwards, in the preface and epilogue to 『Jeon-un pyeonlam(篆韻便覽)』 written by Gyeong Yu-Gyeom(景惟謙) in 1651, the existence and interrelationship between 『Jeon Jungyong』 and 『Jeon-ye Geumganggyeong』 were mentioned. And in 1675, 『Jeonhae simgyeong(篆海心鏡)』 through the preface written by Kim Man-Gi(金萬基), it can be seen that the 38 japchejeons of 『Jeon Daehag(篆大學)』 completed by Kim Jin-Heung(金振興) in 1661 are based on 『Jeon-ye Geumganggyeong』. In all, it can be confirmed that 『Jeon Jungyong』 played a leading role.
《全中容》对《全野金刚景》的接受研究
《全中永》是朴永()于1544年将《全中永章古》()的正文以33种篆书抄录而成的一本书。 由于不可能单独创造出朴永的全部33种风格,因此本文将重点放在确定他在后记中提到的参考书《党本》上。然而,直到唐代,对各种属于篆书的文字类型的记录进行了研究,但没有现存的资料可以证实实际的文字。有一点,魏旭()的“五十六式写作”认为有成为典范的可能。因为有很多类型的日本牌和解释的创作过程。北宋景德年间,唐僧()。原版很早就消失了,但后来又生产了许多重新发行的版本。1288年,“肯僧再版”的版本,由陈书昭()撰写的序言,“全野金刚经()”被介绍到韩国。许多木刻版本至今仍保存下来。事实证明,在此期间,这种影响是巨大的。据推测,朴英以此为标准出版了《全正庸》。 《全野金刚经》中包含了32种日本字的名称、出处和实际字母的形状。“全中容”的33种类型与“全野金刚景”的29种类型相吻合。之后,在序言和后记”Jeon-un pyeonlam(篆韻便覽)”写的Gyeong Yu-Gyeom(景惟謙)1651年,之间的存在和相互关系”全Jungyong”和“Jeon-ye Geumganggyeong”被提到。而在1675年的《全海景景》中,通过金万基(金氏)所写的序言可以看出,1661年金振兴(金氏)所完成的《全大旗()》的38个碑文都是基于《全野景景》。综上所述,可以肯定的是,“全正庸”扮演了主角。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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