澹軒 李夏坤의 書畵美學思想 硏究

• 영문명: A Study on the Thought of Calligraphic Aesthetics in Damheon Lee Ha-gon - Centering on Literature and Sameness -ethics
• 발행기관: 한국서예학회
• 저자명: 전상모(Jun, Sang-mo)
• 간행물 정보: 『서예학연구』서예학연구 제20호, 97~126쪽, 전체 30쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2012.02.28

국문 초록

澹軒 李夏坤(1677-1724)은 문예활동을 통해 자기만의 ‘사상의 자유’를 구가했던 대표적 문인으로 문예비평가ㆍ장서수집가ㆍ서화수장가ㆍ서화감평가였다. 그는 조선조 문인들의 전통적 사유였던 ‘以道爲文’에서 벗어나 ‘道’ 대신 ‘識’을 설정하여 문예의 독자성을 주장하였다. 그는 ‘識’의 ‘高博’이 ‘文’의 ‘高博’을 좌우한 다는 입장을 견지하고, 儒ㆍ佛ㆍ道 및 陰陽ㆍ占術ㆍ醫術ㆍ星曆 등 모든 학설을 통섭할 것을 주장하였다. 그는 이전의 문인들이 사용하지 않았던, ‘自得’ㆍ‘眞文’ㆍ‘胸 中流出’ㆍ‘信手相應’ㆍ‘習氣’ㆍ‘眞詩’ 등의 비평용어를 구사하였는데, 이는 唐宋派의 唐順之와 公安派의 三袁으로부터 온 것이었다. 그러나 그들의 양명학적 학술사상에 대해서는 부정적이었다. 그렇지만 당순지가 주장한 ‘本色’의 표현이나 이하곤이 주장한 ‘識’의 확충은 인간 본연의 개체성을 인정하고 주체자아를 중시하는 양명학적 사유이다. 그는 산수 유람에서 얻은 견문이나 절경을 시문으로 표현하거나 그림을 평가하는 기준으로 삼는 한편, 소식의 ‘詩情畵意’, 원굉도의 ‘眞’, 동기창의 ‘山水傳神’ 등을 主體自得的으로 해석하여, 자연대상으로부터 회화가 갖는 독립적 가치에 대한 인식의 수준에 이르는 단서를 보여 주었다. 서예에서는 서체의 전형을 二王에 두고, 작가의 ‘本色’을 중시하였다. 서예를 鑑評하면서 ‘習氣’를 경계하고, ‘辭意飛動’한 글씨를 높이 평가하였다. 그가 중시한 ‘본색’은 작가의 영원한 독자성이었다. 회화에서는 士大夫畵를 이상적으로 여기고 ‘邪甛’와 ‘院氣’를 부정적으로 여기면서, 詩意와 畵意를 기준으로 삼았는데, 그가 제시한 방법론은 ‘神情‘ㆍ‘自家胸中流出’ㆍ‘信手揮灑’ㆍ‘天機’ 등이었다. 비록 정치하지는 않지만 우리산천의 ‘眞面目’을 그려내기 위한 自得的 방법론의 모색이었다. 요컨대, 이하곤은 ‘博學高識’을 바탕으로 당순지의 ‘本色論’을 비롯하여, 명ㆍ청대의 문예론과 서화론을 주체자득적으로 수용하고, 창조적으로 재해석함으로써 자신의 독특한 서화미학사상을 펼쳤다.

영문 초록

As Damheon Lee Ha-gon(澹軒李夏坤)(1677-1724) is a representative writer who had enjoyed his own 'freedom of thought through literary activity, he was a literary criticㆍbibliophileㆍprivate collector of paintings and calligraphic worksㆍappraiser of paintings and calligraphic works. He asserted originality of literature by establishing 'Vijnana(識)’ instead of 'Tao(道)’ with escaping from 'needing to control sentence with the Tao(以道爲文),’ which had been traditional thinking in literary people of Joseon dynasty. He insisted on uniting all theories such as Confucianism(儒)ㆍBuddhism(佛)ㆍReligious Taoism(道) & yin and yang(陰陽: the cos-mic dual forces)ㆍdivine(占術)ㆍmedical practice(醫術)ㆍastrology-calendar(星曆) with sticking to the position as saying that ‘height and broadness(高博)’ in 'Vijnana’ controls ‘height and broadness’ in‘sentence(文).’ He made good use of critical terms such as ‘self-complacency(自得)’ㆍ‘perfect writings(眞文)’ㆍ‘being automatically motivated from the heart(胸中流出)’ㆍ‘Being naturally harmonized even if writing as oneself likes(信手相應)’ㆍ‘bad habit(習氣)’ㆍ‘true poetry(眞詩)’ that hadn't been used by former writers. This is what came from Tang Shun-zhi(唐順之) in a group of writers who followed tang-song literature(唐宋派) and The Three Mr. Yuan Brothers(三袁) in a group of writers who followed Gong-an literature(公安派). However, he was negative to their Yang-ming school-based academic thought. However, the expression of 'one's original mind(本色)', which was asserted by Tang Shun-zhi, or the expansion in 'Vijnana,’ which was asserted by Lee Ha-gon, is the Yang-ming school-based thinking that recognizes the natural individuality in a human being and emphasizes the subjective ego. He had knowledge or superb view, which was obtained from travelling to mountains and waters, as the basis of expressing it with poetry and prose or evaluating picture. Meanwhile, he showed a clue of reaching the level of recognition on independent value that painting has from natural object, by analyzing Su Shi's ‘poetic state of mind and the significance of paintings(詩情畵意),’ Yuah hong-dao's(袁宏道) ‘truth(眞),’ and Dong gi-chang's(董其昌) ‘reflecting the spirit of the landscape (山水傳神)’ based on self-complacency. In calligraphy, he emphasized writer's 'own original mind' with putting a model of calligraphic style in Wang Xi-zhi and son(二王). With making appraisal of calligraphy, he looked to 'one's original mind’ and highly rated handwriting with ‘what was talked with writing or word is literally alive(辭意飛動).’ 'One's original mind' that he stressed was a writer's eternal originality. In painting, he had a poetic state of mind and the significance of paintings as the basis while regarding painting in the literary artist´s(士大夫畵) as ideal and deeming ‘greasy(邪甛)’ and ‘decorative painting(院氣)’ as negative. Methodology that he suggested included ‘vitality(神情)‘ㆍ‘Jagahyungjungyuchul(自家胸中流出: being automatically motivated from own heart(mind))’ㆍ‘Writing in own way(信手揮灑)’ㆍ‘the pro-found secrets of nature(天機).’ Even if being not exquisite, it was a pursuit for self-acquired methodology in order to depict ‘one’s true self(眞面目)’ in our mountains and streams. After all, Lee Ha-gon did spread his unique thought of the calligraphic aesthetics by accepting and creatively re-analyzing the theory of literature and the theory of calligraphic painting in the Ming and Qing dynasty including Dangsunji's 'discourse on one's original mind(本色論)’ based on‘erudition and a high knowledge(博學高識).’

목차

<논문요약>

Ⅰ. 序論

Ⅱ. 自得論的 文藝思想

Ⅲ. 本色論的 書畵美學

Ⅳ. 結論

<참고문헌>

Abstract

키워드

李夏坤 識 唐順之 本色 公安派 眞 書藝美學 繪畵美學 Lee Ha-gon Vijnana Tang Shun-zhi one's original mind