송대 채련사(採蓮詞)의 활용 양상과 그 의미

초록

This paper investigates the diverse applications and cultural significance of the Cailian Ci (採蓮詞, Picking Lotus of Lyrics) during the Song Dynasty. Evolving from the Han Dynasty folk song Cailian Qu (採蓮曲), which later became a Southern Dynasties court performance, the Cailian Ci is rooted in a long tradition. It formally acquired the characteristics of the Ci (詞) genre during the Tang-Five Dynasties period. This literary form subsequently flourished and became a significant component of Song Dynasty culture. Its assimilation was enabled by its skillful adaptation to the sociopolitical demands of the Song era, allowing its use in both the imperial court and literati society. The analysis is structured across three realms: literature, music, and dance. The Cailian Ci transformed across three realms during the Song Dynasty. In the literary realm, Yan Shu (晏殊) shifted the focus of the lyrics from romantic themes to pure scenic description and literati fellowship, thereby establishing a new category of Yonghua Ci (咏花詞). In the musical realm, the Cailian Ci was integrated into the Daqu (大曲) sequence. Shi Hao (史浩) notably transformed the theme of lovers’ separation into a fairy’s departure from the Xian World (仙鄉), which restored the Daqu’s inherent Daoist and ritualistic features. Finally, in the dance realm, Shi Hao’s Cailian Wu (採蓮舞) adapted the traditional prayer format to commend the Song Dynasty for achieving an “Era of Great Peace” (太平盛代). Ultimately, by skillfully transforming its original romantic focus into themes of literati socialization and imperial auspiciousness, the Cailian Ci successfully established itself as a vital component of Song Dynasty culture.

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