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임노직 ( No Jik Lim ) 근역한문학회 2014 한문학논집(漢文學論集) Vol.38 No.-
소백산은 안동문화권의 지식인들에게 오랜 상호관계를 통해 외경의 대상과 은신처로 산수문학 창작의 원천지가 되었다. 특히 조선유학을 대표하는 이황의 유산으로 인해 더욱 숭고한 산으로 존숭되어, 봉화의 청량산과 더불어 이황의 정신세계와 학문적 자취가 깃든 곳으로 인식되었다. 팔경시의 양식 속에는 시인의 작시 태도와 미의식이 극명하게 내재되어 있기 때문에 八景詩를 대상으로 그 속에 나타난 소백산의 표상적 의미를 고찰한다. 소백산을 노래한 시는 기본적으로 자연경물의 묘사를 통해 자연미를 발견하고 그 속에서 자연과의 친화를 드러낸다. 그러나 여타의 산수시와 달리 ‘밝음’을 지향하는 소백산 문화권의 독특한 인문지리적 특성이 반영되어 있다. 연작시에 드러난 소백산의 시적 대상은 소백산 ·죽령·자개봉·옥녀봉 등으로 구분되는 바, ‘눈’을 기본적인 이미지로 삼고 있으며, 작자에 따라서 대상에 대한 표출 양상이나 주제적 성격은 다양하게 전개된다. 죽령을 노래한 작품은 회고적 정서를 바탕으로 이별과 허무를 주요 주제로 삼고 있으며, 자개봉을 읊은 시는 은일정신이 반영된 신선 세계에 대한 동경과 산수의 내면적 관조를 강조하고 있다. 또한 옥녀봉을 제재로 한 작품은 자연미의 추구와 여색을 경계하는 유교적 사유의 정신을 보여준다. 요컨대 팔경시에 드러난 소백산 제영시에는 유가적 인문정신과 도가적 은둔사상이 혼재되어 있으며 자연과의 합일을 통한 성찰적 경향이 두드러진다. This study analyzed Mt.Sobaek’s poetic imagery in the Joseon Dynasty. A human being lives together in landscape of nature, recognizes its existence through nature. It means that the relation between a human being and landscape of nature is not oppositive but eco-friendly existence. Andong cultural area`s pastoral poet expressed Mt.Sobaek`s poetic imagery using one of eight scenic beauties as the title. In this tendency lies the aim of selecting eight scenic poetry for establishing Mt.Sobaek’s symbol. This thesis intends to consider the formation, evolving process and kinds of the poetic imagery of Mt.Sobaek. Mt.Sobaek’s poetic imagery described all the scenary of the season in the order and objective description. This objective description made it possible to express any object very experienced and realistic way. Also Mt.Sobaek’s poetry expressed and showed the temperate feeling in the poetry come from the contemplate. In case of Mt.Sobaek’s poetic imagery repeatedly cited by a number of literary men. In the side of contents, Mt.Sobaek`s poetic imagery discribed with the view of nature through the symbolization and vitality and understand self-identity. It can be understood that Mt.Sobaek`s poetic imagery were manufactured with a certain formality and commonly expressed in the works. This paper also examines how to utilize those mountain poetry as ecological literature.
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林魯直(Lim, No-Jik) 동아인문학회 2011 동아인문학 Vol.20 No.-
Nature itself was a realistic space for the scholars of the Joseon dynasty, a space where they were able to carry out their idealistic lives. The mountain Mui(武夷) was where the great scholar Chu Hsi(朱熹) indulged in study in his later years; dwelling deep in the valley, secluded from the world-this, after he had deserted his governmental post. His poem, “Muidoga (武夷櫂歌)”, became the archetypal model for creating Gugoksi (the nine verses" poem), which had a great influence on the future Yeoungnam scholars" idealism toward nature, centered on Yi Hwang. The enthusiastic acceptance of “Muidoga(武夷櫂歌)” was due, in part, to its being considered a successor to the originality of ethics. Thus, the moral idea grew and gained momentum as it was passed down through the generations. Notably in debt to this moral philosophy was the set-up of “Dosangugok (陶山九曲)” and the poetic creation that came out of it, all of which was triggered by Lee Ya-sun in the late 18th century (1755~1831). This all served to clearly secure the scholastic genealogy of the Toegye"s school and its legitimacy. Though the poem “Dosangugok(陶山九曲)” was written from borrowing its rhyme-scheme from Chu Hsi"s “Muidoga(武夷櫂歌)”, “Dosangugok(陶山九曲)” has its own peculiar tune-one that has a very different geographical background from “Muidoga(武夷櫂歌)”. In other words, one can guarantee the realism and creativity of the work because the first one was produced from within Dosan(陶山), a realistic background area, and not some other imaginary place. Debating the meaning of “Dosangugok(陶山九曲)” led to the creation of the poems “Oksangugok(玉山九曲)”, which came first, and “Samsangugok(三山九曲)”, which came after. This implies that there were lots of differing scholars" views about the original moral philosophy of the Yeongnam school, and some additional conflicts were found in terms of succession of its idea. In short, Toegye"s acceptance of “Muidoga(武夷櫂歌)”, and his younger students" production of “Dosangugok(陶山九曲)”, established the legitimacy of the ethics that were passed down from Chu Hsi. As a result, such efforts enabled Yeongnam scholars to identify themselves as students of Toegye"s school.
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