The Acceptance of Dulcimer and Its Literary Representation in the Late Joseon Dynasty

This paper examines the reception and literary embodiment of the dulcimer, focusing on Yu Deuk-gong's “Donghyeongeumbu” (銅絃琴賦) and Nam Gong-cheol's “Cheongcheolgeum” (聽鐵琴), “Geumbu” (琴賦), “Akgibu” (樂器賦). The significance of Yu Deuk-gong and Nam Gong-cheol's works lies in their in-depth exploration of the implications of the dulcimer and the formation of a serious discourse on the understanding of Western artefacts. “Donghyeongeumbu” demonstrates that the dulcimer can sufficiently harmonise with traditional music, based on the relativistic perspective of Dongseongigiron (同聲異器論). It is noteworthy that almost half of the main text is devoted to describing the process of mining and processing copper to make the dulcimer. This shows the author's interest not only in the enjoyment of the dulcimer as a refined taste, but also in the technology of creating new artefacts. On the other hand, Nam Gong-cheol initially consumed the dulcimer in the realm of elegance, but concluded that it was a barbaric instrument that could not coexist with classical music, responding to the anti-Western atmosphere and the policy of correcting musical styles. “Cheongcheolgeum”, “Geumbu” and “Akgibu” are works that literally embody his logic that the nation, as the inheritor of Chinese civilisation, should revive traditional rituals and music. After the nineteenth century, the dulcimer was nationalised, but enjoyed only as a musical instrument, and the serious reflection on intercultural understanding initially shown by Yu Deuk-gong did not spread further. This can be explained by the strong imperative to restore classical music. The variations in the portrayal of the dulcimer from Yu Deuk-gong to Nam Gong-cheol reflect the changing attitudes of Joseon scholars towards foreign cultures.