李基憲《燕行錄》中之清代中國形象

Qing Dynasty China’s Image in Yeonhaenglok' by Lee Gi-hoen

本稿分成嘉慶皇帝形象、禮俗淪喪之風俗形象、危機重重之現實社會形象等三個部分，來探討十九世紀初期朝鮮使節李基憲《燕行錄》中的中國形象。此《燕行錄》中的嘉慶皇帝正面形象為：儉樸、勤政、愛民、懲奸除惡、拔擢人才、禮遇朝鮮等，其中僅有偏聽決事是負面形象。這樣的嘉慶皇帝形象與《清實錄》、《清史稿》中皇帝形象相符，作者並沒有以「華夷之辨」的眼光來刻意醜化嘉慶皇帝，而是以客觀理性的態度來勾勒嘉慶皇帝形象，從另外一個角度來看時，已接受了這位夷族皇帝。李基憲眼中之所以能刻畫出如此正面的嘉慶皇帝與作者生處的十八世紀後期至十九世紀初期的社會背景有著密切關係，此時期整體的朝鮮社會風潮是逐漸肯定清朝。就現實層面而言，李基憲雖然承認了嘉慶皇帝，卻對中國的許多風俗提出諸多批判，批評縣學內聖人神主之位序錯置、徐家祠堂裡「堆遺其祖先神版於空屋塵中」等，將嘉慶朝的風俗形象描繪成禮俗淪喪的局面，他之所以如此批評清人不懂禮俗，是由於朝鮮中華意識。此種朝鮮中華意識的優越感更是表現在作者對朝鮮服飾保留古制的自豪這一層面上，透過中國文人齊佩蓮的口來證實朝鮮服飾及文章制度保留著中國古制。除此之外，作者亦發現隱藏在繁華的嘉慶朝表象背後的危機，如水災等，換句話說，李基憲眼中的中國社會現實形象就是危機重重的。

This draft is divided into the following three sections: the Emperor Jiaqing’s image, the degradation of social customs, and the tremendous crisis in social reality, all of which contribute to explore the image of China presented in Yeonhaenglok' (Books of Travel to Ch'ing) written by the Korean ambassador Lee Gi-hoen in the early nineteenth century. The positive image of Emperor Jiaqing portrayed in Yeonhaenglok' (Books of Travel to Ch'ing) is characterized with attributes such as diligence in tackling political affairs, impartiality in making judicial judgments, assigning positions per competence, concerning himself with national destiny, and treating Korea with courteous reception, with a single exception of negative image being the biased perspective he adopted in determining certain judicial cases. This image of Emperor Jiaqing is generally correspondent with his prototype described in the Qingshigao (Draft History of Qing). The author does not deliberately smear the image of Emperor Jiaqing due to ethnical differentiations, but depicts his image from a relatively objective and rational angle, which, judging from another viewpoint, suggests their acceptance of this emperor of different ethnical origin. The reason why Lee Gi-hoen is capable of depicting such a positive image of Emperor Jiaqing is closely related to the social background of the late eighteenth and early nineteenth century, in which the author was born. The author’s contemporary social trend in Korea was to cultivate and populate Qing China. From the realistic perspective , despite Lee Gi-hoen’s recognition of Emperor Jiaqing, he still files intense censures against Chinese customs; for instance, he impugns that Confucius’ memorial tablet is misplaced in terms of order within the County College, and the ancestor’s spirits tablet in the Hsu family temple is covered in dust and placed in a deserted house. The above depiction gives the overall impression of social decadence during Emperor Jiaqing’s reign. This censure for Qing people’s ignorance of social decorum originated from Korea’s miniature-China complex. The sense of superiority of this consciousness is apparently manifested from their pride in preserving the ancient Chinese code in traditional Korean costumes. The preservation of ancient Chinese conventions in Korean dressing codes and literary systems is attested to by the Chinese scholar Qi Pei-lian. Additionally, the author reveals the crises hidden behind the prosperity of Emperor Jiaqing’s reign, such as frequent flooding. In other words, the image of Chinese social reality perceived by Lee Gi-hoen is imbued with immense crises.