李圭景의 方以智 樂律論 受容과 再構成 -五洲衍文長箋散稿 樂律 辨證說을 중심으로-

초록

This study examines how Yi Gyugyeong received and reconstructed Fang Yizhi's theory of music and pitch in order to clarify the formation and characteristics of his own theory. It first clarifies Fang Yizhi's theoretical framework through an examination of Tongya and Wuli Xiaoshi, then analyzes the music-related Byeonjeungseol in Oju Yeonmun Jangjeon Sango from the perspectives of reception and reconstruction. Grounded in qi, Fang Yizhi explained the correspondence between the Twelve Pitch Pipes and the Twelve Hexagrams, the sanfen sunyi method, and the systems of the Five Notes, Seven Modes, and Twenty-eight Modes through Yixue-based numerology, while questioning the methodological validity of the Houqi method. Yi Gyugyeong adopted Fang Yizhi's theoretical system as the foundation of his own theory. At the same time, he refined the calculation of the Yellow Bell pitch pipe, defended the Houqi method, and reinterpreted the function of hui in Lüzhun theory by relating it to the Korean hyeongeum, thereby reconstructing it in accordance with his own scholarly concerns. The analysis shows that Yi Gyugyeong treated Fang Yizhi's theory as an important intellectual framework while reinterpreting it within the scholarly and musical context of nineteenth-century Joseon, demonstrating that its reception involved reinterpretation rather than mere inheritance.

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