The same character or word has two opposite meanings, and this phenomenon is called the enantiosemy in traditional Chinese. It was as early as 1728 that Joseph de Prémare concerned about this special phenomenon in the Chinese language. In the book Notitia Linguae Sinicae, he cited four examples of Chinese enantiosemy characters such as “Luan”(亂), “Du”(毒), “Gu”(蠱) and “Qing”(清). Later in 1891, G. Schlegel published an article entitled “On the Causes of Antiphrasis in Language” in T’oung Pao, in which nearly twenty Chinese enantiosemy characters were listed and analysed. Upon closer examination, some of the Chinese enantiosemy characters cited by Joseph de Prémare and G. Schlegel do not stand up to scrutiny, because they are not objective and clear enough in terms of a basic but crucial issue - the connotation of the “enantios” in the enantiosemy. This paper analyses all the Chinese enantiosemy characters listed by Joseph de Prémare and G. Schlegel, and summarises Western scholars’ perceptions of the “enantios” in the enantiosemy. On the basis of the compilation of Chinese scholars’ viewpoints, the connotation of the “enantios” in the enantiosemy is clearly defined as “opposite” and “relative” two areas; and mainly borrowed from the research results of the antonym, the “enantios” is divided into four types of relationship such as the complementarity, the antonym, the converseness and the pragmatic.

‘Tong’, a term commonly used in ancient Chinese dictionaries, is also widely used in Korean Chinese dictionaries. Through the study of the term in Jeonwun Okpyeon, this paper finds that the term is mainly used to define the characters with the same or close relationship in pronounciation. This is similar to the term in ancient Chinese annotations and dictionaries. However, the term in Jeonwun Okpyeon can also be used to define the situation in which Chinese characters’ shapes and meanings are interlinked. It is, in fact, desirable that the characteristic as such be paid special attention to in the study into ancient dictionary styles of both China and Korea. Based on the exhaustive investigation and analysis of “Tong” in Jeonwun Okpyeon, the paper obtains various types of ‘Tong’, which provides support for the determination of its connotation as well.

The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

조선 왕실에서는 왕비나 세자의 책봉(冊封) 그리고 상존호(上尊號)를 위한 상옥책(上玉 冊) 의식을, 국가적 행사로서 성대하게 치르고 이를 의궤(儀軌) 기록으로 남겼다. ‘상옥책’ 은 왕실에 관한 공덕과 찬사의 글을 옥간(玉簡)에 새기고 이를 금분으로 메워서 옥책(玉冊) 으로 엮은 것을 올리는 의식이다. 즉 의식의 주된 내용이 옥책의 내용을 낭독하고, 이를 함 (函)에 담아 봉(封)하는 것으로 요약된다. 여기에 사용되었던 함은 二重의 함으로 내함(內函)과 외함(外函)으로 구성되어 있는데, 그 중 내함은 매우 특별하게 제작되었다. 주칠함(朱漆函)에 니금(泥金)으로 화려하게 장식 되어, 조선 시대 사가(私家)에서 사용한 함들과는 확연한 차이를 보였던 것이다. 그 내함이 국립고궁박물관에 250여점 현존하고 있다. 본 논문은 국립고궁박물관 소장 옥책 내함의 제작 시기를 밝혀보고, 이를 바탕으로 한 공예사적 회화사적인 변화양상과 옥책 내함이 의례품으로서 갖는 역사적 의미에 관한 발표자의 이전 연구를 바탕으로 하였다. 옥책 내함은 왕권 강화의 의미와 관련한 왕실공예품이며, 목 공예 금속공예 칠이나 섬유 공예, 니금 그림의 회화사적인 측면에 이르는 다양한 정보를 주는 중요 문화유산이라 할 수 있겠다. 이에 더하여 여기서 중점할 내용은, 옥책 내함의 시대별 변화양상을 동시대 제작으로 추정되는 내함 外의 다른 국가 제작 함(函)과 비교 검토하고자 하는 것에 초점을 두고자 하였다. 연구자의 앞선 연구에서 옥책 내함의 시기별 변화양상의 흐름을 밝힌 바 있는데, 그것은 뚜렷한 구분을 보이는 것이었다. 이것은 동시대 흡사한 제작 방식을 갖는 다른 목조함의 제 작시기를 추정하는 근거로 활용이 가능하다는 전제 하에 연구를 시도하였고, 이것은 제작시 기 파악이 어려운 목공예의 편년 연구에 기여할 것으로 생각된다. 아직은 한정된 수에 불과하여 그 연구의 시작이지만, 이를 바탕으로 앞으로 비교 대상의 확장과 더 나아간 다각도의 연구가 있기를 바란다.

This article is the valuation analysis of the New Narration Styles of Chinese Novels of the new-era（1970’s~1990’s). Narrative Style is the starting point of analysis perspective of novels as well as of expression. In addition to summarized formal system of Narrative Styles, to explain the value of them is also an important part of the analysis. The valuation of these narration styles is mainly reflected in changes. By studying and describing the changes, this article concludes the new approach from the overall series analysis.There are three main points:1, describing the new style contents of induction and their causes;2,reflecting the general characteristics in the structure of the narrative styles;3,describing the substance and significance of the new narration styles.