湖州竹派 硏究 : 李衎의『竹譜詳錄』을중심으로 = A Study on the Huzhou Bamboo School - Focusing on Li Kan’s Zhupu Xianglu -

다국어 초록 (Multilingual Abstract)

This study provides a comprehensive analysis of Li Kan’s (1245–1320) Zhupu Xianglu (竹譜詳錄), with particular emphasis on the Huzhou Bamboo School (湖州竹派), in order to elucidate its underlying aesthetic and philosophical system. More than a technical manual on ink-bamboo painting, the Zhupu Xianglu constitutes a metaphysical reflection on artistic creation, integrating the literati ideals inherited from Wen Tong (文同) and Su Shi (蘇軾). The primary objective of this research is to reconstruct the aesthetic framework of the Huzhou Bamboo School by examining the interrelations among Qi (vital energy), Shi (dynamic configuration), Brush Method (bifa), and shencai (spiritual brilliance).
The study employs a triadic methodology combining philological investigation, art-historical comparison, and aesthetic interpretation. The Siku Quanshu edition serves as the textual foundation, supplemented by Zhao Tianye’s (2023) annotated commentary. Through comparative analysis of the intellectual lineage extending from Wen Tong and Su Shi to Li Kan, Wu Zhen, Wen Zhengming, and Zheng Xie, this research situates the Zhupu Xianglu within a continuous trajectory of literati aesthetic development.
The findings reveal that Li Kan’s principle—“Qi moves the brush, and shi forms the bamboo stem” (氣以運筆, 勢以成竿)—articulates an ontological unity between inner vitality and external structure. In this conception, Qi constitutes the internal life-force and source of artistic animation, whereas shi embodies the visible rhythm and formal tension of the composition. Painting thereby transcends mere imitation, becoming a practice of self-cultivation (修身) and a realization of Dao through brush and ink. Furthermore, the Huzhou Bamboo School is shown to integrate the Confucian ideal of moral integrity (dexiang lun 德象論), Daoist notions of natural spontaneity (自然觀), and Chan Buddhist insight into the mind (心源論). Li Kan’s dictum—“To paint Qi with the brush, to move the mind through Qi, and to unite the mind with Dao”—encapsulates this triadic harmony.
Subsequent artists, including Wu Zhen, Wen Zhengming, and Zheng Xie, embodied this philosophical orientation in distinct modes—ranging from yige (逸格, transcendental simplicity) and yazhi (雅致, refined elegance) to xinxie zhu (寫心不寫竹, painting the heart rather than the bamboo).
Ultimately, the Zhupu Xianglu represents a culmination of the literati painting tradition, unifying the technical (形而下) and the metaphysical (形而上) dimensions of art. It affirms the proposition that “the Way of brush and ink is identical with the Way of self-cultivation” (筆墨之道, 卽修身之道), thereby positioning Li Kan as a pivotal figure who transformed painting into a metaphysical act through which the unity of Dao, Mind, and Form is realized.

목차 (Table of Contents)

• Ⅰ. 序 論 1
• 1. 硏究 背景 및 問題提起 1
• 2. 硏究 目的과 主要 問題意識 2
• 3. 硏究 範圍와 方法論 3
• Ⅱ. 湖州竹派의 成立과 思想 背景 5
• 1. 湖州竹派의 槪念과 用語의 形成 5
• 2. 文同과 蘇軾의 墨竹 美學 6
• 3. 湖州竹派의 哲學 基底 15
• Ⅲ. 李衎의 生涯와 湖州竹派의 繼承 17
• 1. 李衎의 生涯와 藝術的 位置 17
• 2. 『竹譜詳錄』의 成書 背景 18
• 3. 『竹譜詳錄』의 結構 內容 19
• 4. 湖州竹派의 繼承 系譜 20
• Ⅳ. 『竹譜詳錄』의 內容 分析과 美學 體系 22
• 1. 氣와 勢의 繪畵論 22
• 1) 氣의 存在論的 槪念 23
• 2) 勢의 構造와 筆勢의 美學 23
• 3) 氣와 勢의 相互作用 構造 24
• 2. 筆法과 神彩의 美學的 相互關係 29
• 1) 筆法 - 形而下的 構造와 氣運의 通路 31
• 2) 神彩 - 筆法이 生起하는 精神의 光彩 34
• 3) 筆法과 神彩의 相互關係 35
• 3. 『竹譜詳錄』에 나타난 畵論과 創作 38
• 1) 心源과 道의 統合 構造 38
• 2) 形而上과 形而下의 統合 構造 42
• 3) 筆法과 氣韻의 生成 構造 44
• 4) 李衎 畵論의 位置와 創作 48
• Ⅴ.『竹譜詳錄』의 後代 影響과 湖州竹派의 展開 92
• 1. 元代 吳鎭의 逸格 美學과 《墨竹譜》 99
• 2. 明代 文徵明의 雅致 美學과 影響 124
• 3. 淸代 鄭燮의 湖州竹派 美學 實踐 145
• 4. 朝鮮 墨竹의 湖州竹派 美學 流入 163
• Ⅵ. 結 論 175
• 圖表目錄 178
• 圖版目錄 179
• 參考文獻 191
• Abstract 198