盧仝<走筆謝孟諫議寄新茶>的流傳與多元解讀——從唐代「諷諫」到宋代「淸雅」、 朝鮮「淸貧」與日本「淸閑」 = Lu Tong’s Zoubi Xie Meng Jianyi Ji Xin Cha in East Asia ― From Tang Remonstrative Poetry to Song Elegance, Joseon Poverty, and Japanese Tranquil Leisure

다국어 초록 (Multilingual Abstract)

本文以跨文化與接受史的視角，考察盧仝〈走筆謝孟諫議寄新茶〉在東亞世界中的流傳與多重解讀。該詩原為中唐時期具有強烈儒家諷諫意識的作品，但至宋代，其政治關懷逐漸被淡化，轉而以「七碗茶」與「兩腋淸風」為核心，完成由諷諫詩向風雅茶歌的轉型。此一宋代的審美化詮釋，深刻影響了高麗末至朝鮮時期文人對該詩的理解，使其與淸心禪修、淸貧賢者形象相結合；而在日本江戶時期，該詩則被幾乎完全重新定義為以「茶」為主旨的文本。本文透過對不同時代、不同文化語境中引用語句的比較分析，揭示同一詩作在東亞漢文化圈內不斷被再語境化的過程，並說明其意義變化所反映的文化選擇與價值取向。

다국어 초록 (Multilingual Abstract)

This article examines the East Asian transmission and reinterpretation of Lu Tong’s poem Zoubi Xie Meng Jianyi Ji Xin Cha, tracing its transformation from a politically charged admonitory poem in the Tang dynasty to a refined aesthetic “tea song” in later periods. Through a comparative analysis of Chinese Song-dynasty poetry, late Goryeo and Joseon literary works, and Edo-period Japanese texts, the study reveals how the poem’s original Confucian concern for the suffering of the people was gradually marginalized. In Song China, the imagery of “seven bowls of tea” and “cool breeze under the arms” was aestheticized and canonized as a symbol of literati elegance and creative inspiration. In Korea, the poem was reinterpreted through the lenses of Zen cultivation, moral purity, and integrity maintained in poverty, while in Japan it was almost exclusively redefined as a tea-centered text, detached from its political implications. By situating these shifts within their respective cultural and intellectual contexts, this study demonstrates how a single poem functioned as a flexible cultural resource, continuously recontextualized according to local values and ideals within the broader East Asian Sinographic sphere.