19세기 동아시아 맨손무예 발전 측면에서 메이지 시기 일본의 권기수번(拳伎數番)과 『기효신서(紀效新書)』 및 『무비지(武備志)』의 송태조장권(宋太祖長拳) 비교

다국어 초록 (Multilingual Abstract)

The purpose of this study was to investigate how the premodern Chinese martial art Taizu Chang Quan was localized and transmitted in Meiji-era Japan as Kenkisuuban, in order to clarify the history of cultural exchange in unarmed martial arts across modern East Asia. Based on the 1895 publication by Ishibashi Chuwa, 『Kensō Hijutsu Tōsei Kenbugaku·Bōken Hijutsu Tōsei Bugaku (剣鎗秘術討清剣舞学·棒拳秘術討清 舞学)』, this study collected and compared content from the 18th-century Japanese print editions of the 『Wu Bei Zhi (武備志)』 and 『Ji Xiao Xin Shu (紀效新書)』, while also reviewing existing academic literature published in both Korea and Japan. The conclusions of this study were as follows. First, the Kenkisuuban comprised 31 techniques classified into four categories: 11 striking techniques using the upper limbs to hit the opponent, 9 kicking techniques using the lower limbs, 8 grappling techniques primarily involving the upper limbs to lock or apply pressure, and 3 takedown techniques that used the lower limbs to trip or throw the opponent. Second, while the 16 movements of Kenkisuuban followed a primary emphasis in the order of 'strike > kick > grapple > sweep,' the 24 postures of in the 『Ji Xiao Xin Shu』 emphasized 'strike > kick = grapple > sweep,' whereas the 32 postures in the 『Wu Bei Zhi』 showed a distribution of 'strike > grapple > kick > sweep.' This revealed structural differences in technique emphasis across the texts. Third, the Song Taizu Chang Quan described in the 16th–17th century Chinese military texts 『Wu Bei Zhi』 and 『Ji Xiao Xin Shu』 focuses primarily on striking and grappling techniques intended for military training. In contrast, the Kenkisuuban found in the 19th-century Japanese text 『Kensō Hijutsu Tōsei Kenbugaku·Bōken Hijutsu Tōsei Bugaku』 emphasized striking and kicking techniques arranged in a choreographic manner, reflecting a performance-oriented transformation.