조선후기 陽明心學的 서예미학 연구

• 영문명: A Study on the Aesthetics of Calligraphy Influenced by Yang Ming's Philosophy of Mind in the Latter Period of the Joseon Dynasty
• 발행기관: 한국서예학회
• 저자명: 장지훈(Jang, Ji-hoon)
• 간행물 정보: 『서예학연구』서예학연구 제18호, 191~213쪽, 전체 23쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2011.03.30

국문 초록

조선후기 문예미학의 주요 명제인 性情論ㆍ天機論ㆍ性靈論 등은 朱子學의 禮敎主義와 같은 인간욕구의 속박에 반하는 자유와 개성의 표출이며, 擬古에 반하는 眞을 지향하는 것이었다. 이러한 미학사조는 주자학적 擬古主義에서 벗어나 王陽明의 心學을 긍정한 결과였다. 중국 명대 이후 개성과 주체성을 강조하는 양명심학은 自得을 표방하는데, 이는 조선후기 문예전반에 眞을 표방하는 예술사조와 유관하다. 특히 서예방면에서는 조선인의 眞意가 내재된 東國眞體와도 관련이 있다. 물론 조선후기 서화가들의 기본적인 예술인식은 古法의 전형을 무시하거나, 그 틀에서 완전히 벗어난 것은 아니었다. 東國眞體의 창시자인 李漵는 철저한 주자학자였으며, 그 뒤를 이은 尹淳만 하더라도 기본적으로는 王羲之를 전통으로 삼아 주자학적 서예관을 견지했다. 그러나 그는 鄭齊斗 문하에서 心學을 이해하고 實心의 서예를 지향함으로써 擬古가 아닌 진정한 法古와 創新을 구현한다. 윤순을 스승으로 삼았던 李匡師는 양명심학에 뿌리를 두고 학문과 서예에서 주체정신과 진정성을 강조한다. 학문은 자신의 마음에서 터득하는 것임을 전제로, 서예 또한 자신의 생각과 합치되지 않으면 비록 王羲之라도 극복해야 한다고 본다. 字劃은 곧 心術에 근거하므로 서예의 근거와 기준은 모두 주체의 마음[心]에 있으며, 비평의 근거와 기준 역시 마음의 진정성[心眞]에 있다는 것이다. 그의 서예비평은 今에 대한 재해석을 통해 古今을 소통시키려는 적극적 사고였다. 이후 이삼만은 漢ㆍ魏 이래로 서예가 점차 근본에서 멀어지고 元氣가 쇠락하여 서예원형이 상실되었다고 인식하고, 漢代에 근간하여 得筆天然의 서예미학을 전개한다. 한편 북학을 선도한 박지원은 개방적ㆍ주체적 학문사상을 견지하여 ‘善變’을 지향했으며, 서예의 創新을 중시하면서 그 시대가 요구하는 생명력 있는 眞의 미학을 전개하였다. 또한 양명학적 학문사상에 기반하여 실학을 전개한 정약용은 경직된 주자학적 학문사상에서 탈피하여 實學의 현실주의와 心學의 주체정신을 바탕으로 진보적 서예비평을 전개하였다. 이처럼 조선후기는 주자학적 학문과 예술에 대한 반성적 태도로써 기존의 일률적이고 정형화된 유가적 서예정신과 창작심미를 극복하는 데 주력했다. 아울러 심학적 진정주의와 실학적 주체정신에 기반한 自得과 創新의 서예미학을 강구하였다. 변화의 시대흐름에 따른 진정성과 주체성을 견지했던 조선후기 양명심학적 서예미학은 개성과 다양성을 존중하고 탈장르ㆍ탈권위의 사고를 통하여 세계와 소통을 시도하는 21세기 서예정신의 근간이 된다.

영문 초록

Principal theses of the literary aesthetics flourished in the late Joseon period, including Seongjeongron (性情論: study on human nature), Cheongiron (天機論: study on the profound secrets of Nature) and Seongryeongron (性靈論: study on the Holy Spirit), was the expression of freedom and individuality to oppose the restraints such as Yegojueui (禮敎主義: Confucian ethics) of the doctrines of Ju Ja, which was placed on the pursuit of human desires, as well as movements to pursue Jin (眞: truthfulness) instead of accepting Euigo (擬古: imitation of ancient style). These aesthetics trends resulted from embracing Wang, Yang Ming’s philosophy of mind, rejecting Euigojueui (擬古主義: a trend focused on imitating ancient style). Yang Ming’s philosophy of mind that had been emphasizing individuality and subjectivity since Ming Dynasty of China claimed to advocate self-satisfaction (自得), which was related to the artistic trend that encouraged the pursuit of Jin in the late Joseon’s literature at large. When it comes to calligraphy, in particular, it was related to Donggukjin style (東國眞體) that had true desires of Joseon people in its ground. Of course, it does not mean that the artistic understanding of the painters of the latter period of Joseon Dynasty ignored the models provided by traditional styles or completely liberated them from such trends. In fact, Lee Seo who created Donggukjin style was a devoted scholar of the teachings of Ju Ja and Yun Sun who followed him also adhered to the calligraphic style based on Ju Ja’s teachings and had his root in Wang Hiji (a Chinese calligrapher, traditionally referred to as the Sage of Calligraphy). However, he learned the studies on mind under Jeong, Jedu and intended to create calligraphy with truthfulness (實心) and was able to realize true meaning of innovation based on tradition instead of simple imitation of ancient style. Lee, Gwangsa who was taught by Yun Sun emphasized the importance of subjectivity and truthfulness in learning and creating calligraphic works based on Yang Ming’s philosophy of mind. Based on such belief that one must master his study from his heart, he believed that even Wang Hiji had to be rejected if his teaching was not in accord with one’s own calligraphy or thoughts. In other words, since the strokes of characters were based on one’s immanent ability, the grounds and bases of calligraphy were in one’s own mind and those of criticism also existed in the truthfulness of mind. His criticism on calligraphy was a process of active thinking with a purpose to have the present and the past interact each other through reinterpreting the present. Since then, Lee, Samman promoted such calligraphic style that created strokes reflecting nature (得筆天然) on the basis on the Han Dynasty style, understanding that, since the Han Dynasty and Wei, calligraphy had gradually begun to lose its root and energy and, eventually, its original form had disappeared. On the other hand, Park, Jiwon who pioneered Bukhak (a sect of pragmatic school of Joseon) intended to realized ‘Seonbyeon (善變: means that character or behavior of a matter is improved)’ focusing on open and independent studies and ideas. He also pursued the beauty of truthfulness with full of vitality, which was required by the times, laying huge stress on the innovation in calligraphic style. Promoting pragmatic school based on Yang Ming’s teachings and overcoming the fixed ideas of Ju Ja’s doctrines, Jeong Yakyong initiated progressive calligraphic criticism based on the realism of the pragmatic school and the subjective idea of the teachings on mind. Thus, the latter half of Joseon Dynasty was characterized to have focused on overcoming existing indiscriminate and standardized Confucian mind and aesthetic appreciation in calligraphic creation based on the introspection of Confucian studies and arts.

목차

〈논문요약〉

Ⅰ. 들어가는 말

Ⅱ. 朱子學的 서예에서 陽明心學的 서예로의 전환

Ⅲ. 陽明心學的 서예미학의 自得的 전개

Ⅳ. 나오는 말

〈참고문헌〉

Abstract

키워드

윤순 이광사 이삼만 박지원 정약용 陽明心學的 서예미학 Yun Sun Lee Gwangsa Lee Samman Park Jiwon Jeong Yakyong and Aesthetics of Calligraphy Influenced by Yang Ming's Philosophy of Mind