학술논문
명 말의 기녀 이미지 ― 『吳姫百媚』와 『金陵百媚』의 젠더적 측면을 중심으로
Courtesan Image of Late Ming Dynasty: Focusing on Gender Aspects of Wujibaimei and Jinlingbaimei
Courtesan Image of Late Ming Dynasty: Focusing on Gender Aspects of Wujibaimei and Jinlingbaimei
Document Type
Article
Author
Source
대동문화연구. Sep 30, 2022 119:65
Subject
Language
Korean
ISSN
1225-3820
Abstract
이 논문은 『吳姬百媚』(1617)와 『金陵百媚』(1618)의 내용과 성격, 시각화 양상을 살피고, 시각적 재현에 근거하여 명 말기 기녀 이미지를 세 측면에서 분석한 것이다. 두 서책은 기녀를 꽃에 빗대어 품평하고 과거 합격자의 품계처럼 등급을 정한 뒤 각종 시문과 삽도를 수록한 花案의 일종이다. 이들의 출판에 관여한 周之標, 馮夢龍, 李雲翔은 과거제도 바깥에서 양명학의 자장 하에 청루의 유흥문화와 통속문학을 즐기고 상업 출판에 나선 이들이다. 삽도의 시각화 방식은 오위와 당인의 작품과 특히 친연성이 깊고, 통속문학의 삽도와도 관련을 보인다. 두 서책의 기녀 이미지는 문사형 기녀, 고전적 사녀 이미지와 낭만적인 로맨스, 성적 욕망과 에로티시즘 측면을 분석하였다. 시서화를 창작하고 고급 물질을 향유하는 문사형 기녀는 새롭게 부각된 여성성으로, 기녀들은 남성들의 예술 장르를 자기표현의 방편으로 활용하고, 난을 기녀의 메타포로 전용하는 문화 맥락을 생산했다. 기녀의 사랑과 이별, 그리움의 정조는 고전적 사녀 이미지를 차용했으며, 簪花와 秉花는 기녀의 시각 코드로 부각되었다. 동시대 기녀와 문사의 낭만적인 로맨스는 옛 명사와 기녀의 일화를 빌어 표현했으며, 성적 욕망과 에로티시즘은 春情圖와 에로틱한 신체 표현과 관음적인 시선, 노골적인 애정 표현과 신체 접촉에서 드러난다. 두 서책은 강남의 주변부 문인들이 당대 기녀들에게 발견한 여성성과 그들에게 투영한 욕망을 복합적으로 보여주는 시각자료이다.
This thesis examines the contents, characteristics, and visualization aspects of Wujibaimei and Jinlingbaimei. And based on the visual representation, I analyze the image of courtesans in th late Ming Dynasty from three aspects. The two books are a kind of Hua an in which various poems and prints are recorded after evaluating courtesans by comparing them to flowers and ranking them like the ranks of national exam. The people who took the lead in publishing were those who were influenced by Yangming Studies, enjoyed entertainment culture and popular literature, and started commercial publishing. The visualization method of prints is particularly closely related to the works of Wu Wei and Tang Yin. And it seems to be related to the prints of popular literature. I analyze the images of courtesans, in terms of literary courtesan, classical female image and romantic romance, and sexual desire and eroticism. A literary courtesan who creates poems and paintings and enjoys high-quality materials, is a newly emphasized femininity. The courtesans used the artistic genre of male elites as a means of self-expression, and produced a cultural context that diverted the orchid as a metaphor for the courtesan. The love, parting, and longing of courtesans borrowed the classic image of a woman. Putting flowers in a woman's hair and holding flowers by hand were highlighted as the visual codes of the courtesans. The romantic romance between a contemporary courtesan and a literary man was expressed by borrowing the anecdote of an old male elite and a courtesan. Sexual desire and eroticism are revealed in prints of the lusts of men and women, erotic body expressions and voyeuristic gazes, and explicit expressions of affection and physical contact. The two books are visual materials that complexly show the femininity that literary man from the periphery of Gangnam discovered in contemporaneous courtesans and the desire they projected onto them.
This thesis examines the contents, characteristics, and visualization aspects of Wujibaimei and Jinlingbaimei. And based on the visual representation, I analyze the image of courtesans in th late Ming Dynasty from three aspects. The two books are a kind of Hua an in which various poems and prints are recorded after evaluating courtesans by comparing them to flowers and ranking them like the ranks of national exam. The people who took the lead in publishing were those who were influenced by Yangming Studies, enjoyed entertainment culture and popular literature, and started commercial publishing. The visualization method of prints is particularly closely related to the works of Wu Wei and Tang Yin. And it seems to be related to the prints of popular literature. I analyze the images of courtesans, in terms of literary courtesan, classical female image and romantic romance, and sexual desire and eroticism. A literary courtesan who creates poems and paintings and enjoys high-quality materials, is a newly emphasized femininity. The courtesans used the artistic genre of male elites as a means of self-expression, and produced a cultural context that diverted the orchid as a metaphor for the courtesan. The love, parting, and longing of courtesans borrowed the classic image of a woman. Putting flowers in a woman's hair and holding flowers by hand were highlighted as the visual codes of the courtesans. The romantic romance between a contemporary courtesan and a literary man was expressed by borrowing the anecdote of an old male elite and a courtesan. Sexual desire and eroticism are revealed in prints of the lusts of men and women, erotic body expressions and voyeuristic gazes, and explicit expressions of affection and physical contact. The two books are visual materials that complexly show the femininity that literary man from the periphery of Gangnam discovered in contemporaneous courtesans and the desire they projected onto them.