尹孤山 詩歌의 主題意識과 山水美

Abstract

孤山은 山水의 외형적인 아름다움뿐만 아니라 개인의 미적 체험과 가치관에 따른 美意識을 詩歌라는 예술형식으로 형상화하였다. 따라서 이 논문은 孤山 詩歌에 내재된 主題意識과 山水美를 밝혀 孤山 詩歌의 融合的 성격과 言語 藝術美의 가치를 연구하였다. 그 내용을 요약하면 다음과 같다. 첫째, 孤山의 理念과 抒情의 배경이 되는 學脈과 學問的 性格, 交友와 理念的 性格, 丙辰疏와 禮訟論爭에 대하여 살펴보았다. 이를 통해 孤山의 知性이 抽象的 槪念에 머무르지 않았으며, 이는 산수를 儒家 道學的 理念 측면과 唯美的 形象으로 인식하는 데 영향을 끼쳤음을 밝혔다. 둘째, 孤山의 理念과 抒情이 그의 시가에서 어떻게 形象化되고 있는지 살펴보았다. 孤山 시가에서 理念은 임금과 부모에 대한 忠孝, 人間德性에 대한 道德的 理想으로 形象化되었으며, 抒情은 園林에 대한 山水興趣와 芙蓉洞에서의 安閑自適한 情感으로 形象化되었다. 셋째, ｢漁父四時詞｣를 중심으로 孤山 시가의 山水樂을 고찰하였다. ｢漁父四時詞｣에는 挫折로 인한 現實志向的 측면의 山水樂, 隱遁에서의 理念的 山水樂, 假漁翁을 통한 超然世界가 공존하고 있었다. 나아가 세 가지 측면의 山水樂이 변화하고 공존하며 한 작품 내에서 融合的 山水樂을 이루고 있었다. 넷째, 孤山 시가의 美的 樣相을 밝혀 美意識이라는 환경이 孤山의 시가에서 어떻게 형상화되고 있는지를 살펴보았다. 孤山 시가의 미적 특성을 山水唯美로 규정하고, 미의식이라는 환경이 그의 시가에서 抒情과 興趣, 情景과 補償으로 형상화되었음을 알 수 있었다. 다섯째, 孤山 시가에 드러난 山水美의 特質을 살펴보았다. 孤山 시가에서 산수에 대한 미의식은 認知的 次元에 머무르지 않고 精神的 對象으로 확대되었다. 이는 儒家 道器論的 美意識의 발현이다. 또한 孤山은 假漁翁을 통해 작위함이 없는 본연적 모습으로서의 산수를 노래하였다. 따라서 孤山의 산수미는 儒家的 性格과 老莊的 性格이 융합된 성격을 가지고 있다고 할 것이다.

Gosan not only portrayed the external beauty of the landscape but also embodied the sense of beauty, in the form of poetry, based on personal esthetic experiences and values. In this regard, this thesis looks into his poem's integrating characteristics and linguistic beauty by revealing the thematic sense and scenic beauty embedded in Gosan's poetry. The summaries of the research are as follows. First, this thesis examines the academic line, academic character, friends, ideological nature, byeongjinso (a written petition reporting the wrongdoings of the ruling class), and Yesongnonjaeng (debates between two factions on the manners in formal suit for the memorial period of a public funeral). All of them constitute the background of the poet's ideology and lyricism. The findings of the study show that Gosan's intelligence was not restricted to only abstract ideas but also had an influence on the way people recognized landscape in terms of Confucian ethical ideology and esthetic forms. Second, this paper investigates how Gosan's ideology and lyricism are embodied in his poetry. In his poems, his ideology is depicted as loyalty and filial piety to kings and parents, as well as, ethical ideals as to human virtues. In addition, his lyricism is expressed as pleasure from the scenic views in the forests and engendering peaceful and leisurely feelings in Buyong-dong Garden. Third, an appreciation for landscape in Gosan's poetry, focalized in the poem Eobusasisa (the Fisherman's Calendar), is excogitated. In Eobusasisa, three different types of landscape appreciation coexist: a reality-oriented landscape appreciation stemming from frustration, an ideological landscape appreciation in terms of seclusion, and the world where one can remain aloof through Gaeoong (a nobleman who pretends to be a fisherman to keep aloof from the world while fishing, reciting poems, and drinking). Further, these three aspects of landscape appreciation are integrated into one piece of literary work, by transforming themselves and coexisting together. Fourth, this paper, by revealing the esthetic aspects of Gosan's poetry, looks into how the sense of beauty is portrayed in his poems. By defining the esthetic properties of his poetry as landscape esthetics, it is revealed that the sense of beauty is expressed as lyricism, pleasure, scenic views, and compensation in his poetry. Fifth, the characteristics of the scenic beauty revealed in his poems are examined. The aesthetic sense with regard to landscape does not just remain at a cognitive level but is expanded to include psychological objects. This is the manifestation of the esthetic sense based on the Confucian theory of pottery. In addition, through Gaeoong, Gosan sang songs regarding the beauty of landscape with his true mind without disguising himself. As such, it can be concluded that Gosan's scenic beauty is an integrated form which possesses both Confucian nature and Taoist characteristics.