栗谷 『醇言』의 한국철학사적 位相에 관한 연구

조민환(Jo Min-Hwan) 한국동양철학회 2009 동양철학 Vol.0 No.32

조선조에서 開明성과 聰明성을 통하여 전체를 통관해야만 보이는 物極必返의 진리가 우주론 뿐만 아니라 인간에게도 적용된다는 것을 체득하라고 한 것은 사실 율곡이었다. 이러한 물극필반의 원리를 이기론에 적용하여 이해한다면 物極으로서의 퇴계의 主理論이 必返의 원리를 담고 있는 율곡의 理氣之妙적 사유로 나타났다고 본다. 즉 조선조 이기론의 변천을 중심으로 볼 때 이같은 물극필반의 원리를 알게 되면 조선조초기부터 이어져왔던 주리적 경향 혹은 주리파가 가치를 낮게 평가한 이 세계를 이루는 또 하나의 요소인 氣의 중요성이 대두됨을 알 수 있다. 이런 경향을 가장 잘 담아내고 있는 가운데 대표적인 인물이 율곡이다. 율곡은 그런 기운을 놓치지 않고 변화된 상황에 맞는 適宜한 權道 실천으로서 『노자』 주해서인 『醇言』을 주해했다고 본다. 율곡은 화담과 같이 唯氣論을 주장하지도 않고, 이기묘합적인 사유를 통하여 두 사상을 종합적으로 묘합시키되, 退溪에 비해 상대적으로 기를 중시함으로써 物極必返의 원리를 그 시대에 맞게 보다 자연스럽게 적용하고 있다. 유가의 體用一源의 원리를 그 시대에 맞게 보다 자연스럽게 적용하고 있다. 유가의 體用一源과 ‘下學而上遠’ 및 修己治人의 입장에서 이해된 『순언』은 理氣論에서 尊理적 사유 혹은 主理적 사유가 윤리적인 인간을 형성하게 하는 많은 장점이 있음에도 불구하고 야기시킬 수 있는 사유의 절대성, 경직성, 편협성을 극복할 수 있는 점을 보여주었다. 이런 점에서 볼 때 『순언』에는 이단을 무조건 배척하는 입장이 아닌 상호 의사소통을 통한 통합과 공존의 논리, 포용의 입장이 담겨 있다. 진리에 대한 공명정대한 입장에서 출발한 율곡의 『순언』 주해는 이후 진리에 대한, 현실 인식에 대한 새로운 장을 열어주어 한국사상이 보다 다양한 측면에서 논의될 수 있게 하였다. 이처럼 理 불변적 사유에 입각한 주리적인 입장에 비해 상대적으로 변화를 중시하는 氣 중시적 사유에서 나올 수 있는 물극필반의 논리는 이전과 변화된 상황에 대한 정확한 인식과 이전과 다른 새로운 차원에로의 전환점을 제공하였고, 이에 『순언』이 한국철학사에서 차지하는 위상을 알 수 있다. This Study is focus on the Yul-Gok's Lao Tsu commentary 『SunEon』 and Korean Philosophical phase. There are many commentary on Lao-Tsu in china Jo-Sun Dynasty. Why is it do difficult to search for common understandings in the history of commentaries on Lao-Tsu. All of them may reveal the commentator's thoughts of intellectual of his period rather than the original meanings of Lao-Tsu commentary 『SunEon』 is one of them. the Lao-Tsu commentaries have diverged and coexisted in the history of Korea culture and philosophical thought, especially Jo-Sun Dynasty. Yul-Gok's the Lao-Tsu in Jo-Sun Dynasty. Especially this commentary focus on the re-establishment of taoist tao's originality and Lao-Tzu's original thought through confucious viewpoint. An ordinary confucianist regard Lao-Tzu as heretic. But Yul-Gok did not think alike. Yul-Gok regard Lao-Tzu have an eternal truth upon comparison with confucious viewpoint, such as thought is reflected philosophical change in Jo-Sun Dynasty. In correct term, all kinds of things reach limit it always return counterforce. For this reason, Yul-Gok regard Lao-Tzu have an eternal truth through confucious viewpoint and as such his thought make a turning-point in Korean philosophical thought.

又峰 趙熙龍의 梅花 理解에 관한 연구

조민환(Jo, Min-hwan) 한국서예학회 2010 서예학연구 Vol.16 No.-

동양회화사를 볼 때 신사적 차원이나 형사적 차원 등 그리는 기법에 따라 다른모습을 드러내기는 하지만 많은 문인화가들이 매화를 하나의 화목으로 설정하고그것을 그린 수없이 뛰어난 화가들이 많다. 한국회화사에서 본다면 조희룡도 그 중에 하나를 차지한다. 하지만 조희룡은 이전의 매화를 그린 문인화가들과는 달랐다.조선조는 추사 김정희 이후 19세기에 들어서면 이전과 다른 회화 경향이 나타난다. 일종의 雅에서 俗으로 변천하는 것이 그것이다. 회화사의 입장에서 볼 때 그중심에 조희룡이 있다. 흔히 19세기 신감각파를 주도한 인물로 평가받는 조희룡은매화를 좋아한다는 의미에서 ‘梅花百詠’을 짓고자 이성적이기보다는 감성적으로 대했다. 조희룡은 漢瓦軒題畵雜存이란 화제집을 통해 자신의 매화사랑과 그 인식을보여주고 있다. 매화는 바로 조희룡의 삶의 표상이었고 또 분신이었다. 조희룡에게서 매화는 단순한 자연에 존재하는 식물이 아니고 交情의 대상이었다. 집안에 같이먹고 자면서 함께 생을 같이 하는 권속과 같은 존재였다. 조희룡은 한시도 매화를멀리하고자 하지 않았다. 그것은 癖으로서의 매화사랑으로 나타났고, 자신과 매화를 하나로 하는 物我一體적 사유를 보여주었다. 기존의 전통적인 문인화가들이 古雅하고 淡泊한 아름다움을 담아내는 白梅를 그렸다면 조희룡은 감각적이면서 산뜻한 맛을 담아내는, 때로는 기이하면서도 어지러운 亂의 맛을 담고 있는 紅梅를 그렸다. 神似적 차원도 무시하지 않지만 形似적 차원의 手藝를 강조하고 있다. 이런점에서 조희룡은 이전의 매화를 그린 화가와는 차별성을 갖는다. Jo Hee-ryong is a representative literati painter and calligrapher who came from middle class at the end of the Jeseon Dynasty. The current study aims to find out artistic ideology and aesthetic view from works of Jo Hee-ryong. For the study purposes, the study was to examine how his aesthetic view was realized in apricot tree, the outcome of his aesthetic ideology. He was famous for his paintings of apricot tree. Prior to creating any of his works, he understood the physiological aspect of apricot tree starting from the speculation regarding what he was about to paint in his mind. Once he realized the physiology of apricot tree, he reached the level where he was integrated with apricot tree. From the viewpoint that painting creation is made of two sides; grace and personality, he claimed that such two sides should be unified. He understood natural objects from he standpoint of ‘comparing objects of the nature with human morality’ and of personification. He understood apricot tree at ecological level and personified them which he called true gentlemen. The apricot tree painted by him showed his personality, his attitude towards life and critical thought of his days as there were. Therefore, the apricot tree painted by him were not just the objects existing in the nature. Particularly Jo Hee-ryong expressed his artistic philosophy through an artistic subject in his work. In other words, he created a high standard of literati painting art by upgrading the subject of art to formative beauty on screen. He was the person who carried out the true spirit of literati paintings with his respectable personality in his painting works.

한국철학 : ' 독선기신 (獨善其身) ' 을 통해 본 조선조 선비문화의 진퇴관 (進退觀) - 이황의 독선기신의 신퇴 (身退) 사상을 중심으로 -

조민환(Min Hwan Jo) 동양철학연구회 2001 동양철학연구 Vol.25 No.-

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중국철학 : 주자의 노자관

조민환(Min Hwan Jo) 동양철학연구회 2001 동양철학연구 Vol.24 No.-

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중국철학 : 도가의 교육사상과 그 현대적 의의

조민환 ( Min Hwan Jo ) 동양철학연구회 2003 동양철학연구 Vol.32 No.-

我們總會通過語言來傳達自己的思想和意圖. 儒家亦如此. 道家强調世界万物都處于不斷地變化之中. 沒有任何事物存在于固定形式. 但人類通過語言賦予万物存在的意義幷將其固有化. 這對正학理解與認識這一无時无刻不在變換的世界時産生了无形的局限性. 與此同時我們還將自身的主觀意識和偏見附加于其中, 正所謂`以物觀之`. 我們通常所說的地理正是`以物觀之`理論的産物. `以物觀之`表現于`相對知`和`分別知`兩충形式. 我們也以這兩충形式爲基출接受了敎育. 問題是語言具有一定的局限性. 基于此因, 道家認爲`道可道, 非常道`, `言者不知, 知者不言`, 語言非可信賴. 道家主張`以道觀之`可洞察到眞理的多元性, 以語言和知識的反證爲立場, 主張`絶골기智, 絶學无憂, 行不言之敎, 學不學`等精神. 不言之敎, 卽以自然爲老師實習之精髓, 幷强調要以已律人. 道家겁力批判儒家以仁義禮樂爲基출的敎育思想. 因爲道家認爲仁義禮樂只會侵蝕人的本性. 非敎育, 反敎育便是道家的敎育思想. 但我們也應當對道家所謂的`學`是否具有其實質性的意義及是否能구承含所有內容進行反省. 道家的這충敎育思想進一步升華了`學`與`敎`的境界. 從曆史的角度來看老·庄的敎育思想對藝術及科學的發展起着겁其重要的影響作用.

중국철학 : 서유기인의 유가철학적 고찰

조민환 ( Min Hwan Jo ) 동양철학연구회 2002 동양철학연구 Vol.30 No.-

A popular saying goes like this: Excellent calligraphy reflects the fair personality of the calligraphist, while graceful strokes can only come from an honest heart. Here the personality refers to an accomplished character cultivated in a long time. It shows that to read widely and travel far is a good way to achieve natural and ultimate beauty; moreover, we can draw the ideal of the integrity of soul and mind from the above arguments. In the end of the paper I proposed some principles of critising calligraphical works and tried to argue that good images of humans in people`s minds ensure the liability of the personality transformation by way of calligraphy.

조선조(朝鮮朝) 유학자(儒學者)들의 조선조(朝鮮朝) 후기회화인식(後期繪畵認識)에 관한 연구

조민환 ( Nin Hwam Jo ) 동양철학연구회 2010 동양철학연구 Vol.61 No.-

This paper aims to investigate to Korean traditional arts, especially constructing of Neo-Confucianists in Choseon dynasty. According to Neo-Confucianists in Choseon dynasty, the literary art neither an instrument of the state examination or an medium to recite the beautiful nature. Such artists genres were means to express the originality and wholeness of human life excitements. And there was a long tradition to consider the learning as a way of carrying life well in human society, so that learning was connected deeply with confucian moral and education. Human cultivation was so highly appreciated that the problem of aesthetic education was considered very important. Especially literati painting is rather related to human nature and confucian moral teachings. And to realized this confucian ideas of nature, literati painter and Neo-Confucianists in Choseon dynasty composed a song of Mu-i nine scenery, making a model of Zhou Xi`s song of Mu-i nine scenary. Choseon dynasty`s traditional aesthetic thoughts has various traits contrasting to western aesthetics. There is a notion of unity among poetry, calligraphy and painting, emphasizing the mind rather than form in artistic making. Especially poetry and painting are the two oldest branches of Chinese art and Neo-Confucianists in Choseon period`s painting. Since old times Choseon period`s artists had the point of view that poetry and painting paralleled each other, possessing an identical aesthetic quality. Although poetry differ from painting in the midium expression, the artists had recognized poetry and painting had the common feathers in the function of human mind and principle. Then, by means of Su Shi`s statement, Within the poem is a painting, and withen the painting is a poem, was a central concern in Choseon artistic culture among critics, theorists, and both scholar-official and court artists.

박세당(朴世堂) 『신주도덕경(新註道德經)』도론(道論)의 유가철학적(儒家哲學的) 이해(理解)

조민환 ( Min Hwan Jo ) 한국공자학회 2012 공자학 Vol.23 No.-

This essay is an analysis of ParkSeDang`s 『New commentary of Tao De Jing』 which has builted up some theory and structure. In his 『New commentary of Tao De Jing』 he argued Laotzu`s thought basically follows 『the Book of Changes』 theory and structure. A term used in 『The Book of Changes』 to refer to the source or the fundamental principle of all things, in which 『New commentary of Tao De Jing』 is no exception to this rule. We particularly pay special attention to as a Confucian scholar in the Joseon Dynasty period who learned the importance of Lao-Zhuang`s thought. ParkSeDang is one of the Joseon scholars who emphasized practical learning and an open-minded person. To put it concretely, it is substantially as follows. In all points, ParkSeDang really want to stress the Laotzu thought follows 『The Explanation of the Diagram of the Supreme Ultimate』 allotype, particularly adopt an ``ultimate of nonbeing is also called supreme ultimate`, also follows ``the substance and phenomenon are same root allotype` and ``Pinciple is one but its manifestations are many`, In the Changes, there is the Supreme Ultimate, which produce the two forms. The two forms produce the four emblems. etc. Now to conclude, his thought about Laotzu`s thought basically follows Ned-confucianism`s structure and allotype. His thought about Laotzu`s thought like this understanding shows a Laotzu`s thought is not nothing further regard a doctrine as heresy.

심포지엄 한국미의 심층 구조 : 태극음양론과 한국전통예술의 미의식

조민환 ( Jo Min Hwan ) 한국미학예술학회 2003 미학예술학연구 Vol.17 No.-

東洋的藝術作品通常都講究恒常之道。一般來說,東洋繪畵作品或是藝術作品都富含着藝術家超越豊富的思想,因此也稱之爲寫心畵。一介藝術家的思想根源來自于對天地自然的理解,而太極陰陽論是其核心理論。韓國從흔早以前就已將陰陽思想運用于傳統的藝術作品之中。我認爲太極陰陽的思想是體現韓國傳統藝術美的根源。回顧過去的傳統藝術作品,大多是體現隨意,朴素等直接蘊含大自然氣息的作品。這正是太極陰陽論的立足点也是一種從天地萬物繁衍生長中獲得的對生命意識的感動。在此有三介具體實例。首先是繪?,例如鄭敾的「金剛全圖」。這一作品充分體現了太極的陰陽內涵,幷且含有「周易」中由剝卦到復卦的變化過程中天地自然的繁衍定理。這一作品綜合南北方的繪?手法,蘊含着李珥二氣之妙的繪畵意境。 第二是書法,例如李서的的「筆訣」。李서的書法藝術結合了陰陽論和河圖洛書論。령外李서以隨時處變爲基礎,以不同形式體現時代的變化,創造出富有自己獨特介性的書法體系--東國眞體。最后看一下韓國語字體的創作原理。韓國語字體的原理爲太極,陰陽及五行。發音中含有天地人三才思想。韓國語也正因爲含有太極,陰陽,五行以及天地人三才思想才會散發出與衆不同的氣息。綜上所述,太極陰陽論可謂是韓國傳統藝術美的根源。

정조(正祖)의 ‘심화(心畵)’ 차원의 서예 인식에 관한 연구

조민환 ( Jo Min-hwan ) 퇴계학연구원 2021 退溪學報 Vol.149 No.-

It is the case that calligraphy is understood in terms of ‘picture of the heart,’ in terms of learning calligraphy from a respectful mind, or in terms of helping one’s mind, and in terms of ‘writing is correct when one's heart is right.’ One example is the recognition of calligraphy by King JeongJo of the Joseon Dynasty. Jeongjo's belief in Neo-Confucianism in ‘the dimension of revealing the line of Confucian saints’ and ‘the error-free dimension of truth’ is also applied to ‘Handwriting Restoration and Real Spirit Embodiment.’ In particular, the writings of the Ming and Qing eras criticize that they are not ‘the writings that govern the world,’ which apply to ‘Handwriting Restoration and Real Spirit Embodiment.’ Jeongjo argues that the so-called ‘do six things and do not six things’ as a way to overcome the free-spirited west wind led by Yoon Soon at the time in terms of losing its ‘true energy.’ What King Jeongjo wants to do is ‘fatty, dreary, stagnant, dull, brave, ordinary’. Don't do it is ‘thinness, finesse, lack of restraint, harshness, madness and eccentricity, harshness and bias.’ But the point of Jeongjo's ‘do six things and don't six things’ is presented as a way to overcome problems seen in ‘thinness, craftiness, lack of restraint, harshness, madness and eccentricity.’ King Jeongjo's the ultimate goal is to realize the moderation aesthetics based on Neo-Confucianism in calligraphy. This can be seen from the affirmation of Zhao MengFu's calligraphy, which applies the aesthetic of moderation well to calligraphy. These ‘do six things and do not six things’ is intended to restore the typeface containing true energy that helps King Jeongjo rule the world, which is the core of Handwriting Restoration and Real Spirit Embodiment. The reason for this ‘Handwriting Restoration and Real Spirit Embodiment’ is to realize the beauty of moderation in calligraphy, as well as to ‘preserve the reason of heaven and eliminate human desire.’ In conclusion, King Jeongjo's emphasis on the style of calligraphy, which came from the point of ‘If you have a good heart, you have good handwriting,’ contains the reason for ‘loading the truth as calligraphy.’