윤훤의 <萊州雜詠>에 묘사된 17세기 초의 부산 동래

Abstract

The purpose of this thesis is to examine the appearance of Dongnae in Busan in the early 17th century through the 17 works of <Naejujab-yeong(萊州雜詠)> left by Dongnae Magistrate Yun Hwon(1573~1627).
 In <Dongnaejabsi(東萊雜詩)>, Jeongpo described the simple customs and scenery of the Dongnae region of Busan and the appearance of Sinseonhyang(神仙鄕-Taoist village) represented by Choi Chi-won. He also mentioned Honggan(?~1304) and Ju-lyeong(周令), the leading bureaucrats in this region. He also described the famous pavilions(亭子) and hot springs at the time.
 About 20 years later, Jeong Chu(鄭樞) paid more attention to the appearance of Sinseonhyang(神仙鄕) rather than the general landscape of Dongnae, and was ashamed of himself for not reaching the ancient sages.
 Unlike the previous two works, Yun Hwon(尹暄) created 17 works of 7words poems according to each sub-title. Although he chose the same sanctions as his previous works such as Haeundae and Sohajeong, he also discovered new sanctions such as Jang San-guk(萇山國), Ok Jong-son(玉從孫), the filial son and the tombstone of Jeong Mun-do(鄭文道).
 Other than that, after he built the annex(別館), he wrote a poem using it as a material, and he built Songgongsa(宋公祠) to commemorate Song Sang-hyeon(宋象賢) and write a poem about him.
 Comparing Yun Hwon(尹暄)'s works with the previous two works, I was able to note three things. The first is the heart of remembrance of the war dead and the hostility toward Japan shown in <Tamashima> and <Songgongsa>. The second is an emphasis on filial piety, and the third is a social atmosphere that pursues achieve fame and prestige.
 Japanese Invasion of Korea in 1592 left the scars of war even in Dongnae, the hometown of Sinseon(神仙) and we can see that the intention of the Joseon Dynasty, which wanted the people to become loyal servants, filial daughters, and filial sons, penetrated into the remote Dongrae area in the era of Yun Hwon(尹暄).
 Unfortunately, I could not find any works depicting the overall appearance of Dongnae in the 15th and 16th centuries. However, fragmentary works remain even in that period, so if you collect and examine such works by period, you can reconstruct the appearance of Dongrae in the 18th and 19th centuries as well as in the 15th and 16th centuries.
 If this study continues, it is expected that it will be possible to view the changes in Busan Dongnae described in Korean poetry written in Chinese characters since the 14th century in a diachronic manner.