조선시대 儒家의 죽음에 대한 이해

신일권 국제언어문학회 2018 國際言語文學 Vol.- No.41

The purpose of this study is to explore the meaning of death from the viewpoint of Confucianists in the Joseon Dynasty. Confucianists did not think that the afterworld existed apart from this world, but instead, they have been actively participating in discourses on life, death, ghost and memorial service. Confucianists consider that life and death are not completely different dimensions from each other. In other words, they recognized the ‘gathering and scattering’ of Qi (life force) as ‘life and death.’ 『Liji (the Book of Rites)』 says, “Hunqi (the intelligent spirit) returns to heaven, and Xingpo (the body and the animal soul) return to the earth.” Zhu Xi said, “Hun (the spiritual soul) is associated with Shen (spirit; god) and Po (the animal soul) with Gui (ghost; demon; devil),” and recognized the phenomenon of death as the separation of Hun (the spiritual soul) and Po (the animal soul). The concepts of Hunqi and Xingpo are closely connected with the procedures of Confucianists’ funeral rite and religious rite and the processes of realizing their meanings. Funeral rite is to express grief for burying the dead in accordance with manners, and religious rite is to practice good manners to remember the dead. Confucianists did not think that a person separated by death left for another world. They kept the dead in the realm of life through ritual ceremony and continue to maintain relationships with the dead. They also tried to transcend death through the way of pursuing sublime moral values. Many Confucianists in the Joseon Dynasty also had this Confucianists’ ‘view of life and death.’ Yi Hwang and his disciples focused on morality (Li) as spirit rather than the body (Qi) as a collective body of Qi. The ritual ceremony is to practice morality as the offspring’s filial piety to the ancestor with the same Qi.

申緯의 焚藁와 「焚餘錄」시의 특징

신일권 동양한문학회 2014 동양한문학연구 Vol.38 No.-

申緯(1769~1847)는 少時에 스승 李匡呂(1720~1783)를 모시고 盛唐詩를 공부하다가 陳奏兼奏請使의 書狀官으로 연경에 가서 翁方綱(1733~1818)을 만나고 돌아와 前作들을 모두 태워버리고 '由蘇入杜'를 學詩의 방향으로 내걸었다고 하였다. 본고는 신위의 焚藁 시점이 1812년 옹방강을 만나고 돌아와 분고를 한 것이 아니라 丙午년(1786) 여름 신위의 나이 18세에 이루어진 일이라는 것을 확인하였다. 또 분고 이유는 정두경의 漢魏盛唐시의 복고주의와 의고주의의 모의풍조를 그만두겠다는 선언으로 분고를 한 것임과, 신위의 분고는 金昌協의 영향과 조선후기 반의고주의의 흐름의 연장선에서 일어난 일임을 밝혔다. 신위의 「焚餘錄(1787~1808)」은 분고 이후에서 현전 『警修堂全藁』 이전까지의 작품이다. 「분여록」 내용과 「분여록」 시기의 교유는 대부분 이광여의 제자들인 宋喜鼎·徐榮輔·徐耕輔·徐淇修·成載淳·朴蓍壽 등과 산수자연을 유람하고 산수풍경을 사실적으로 묘사한 시들로 이루어져 있다. 「분여록」에 실린 시의 가장 큰 특징은 산수자연을 유람하며 산수풍경과 일상의 체험을 있는 그대로 사실적으로 묘사하고, 허위나 과장 없이 '平易'하고 '眞實'하게 표현하였다. 따라서 「분여록」 시의 미적 특질은 '實境'에 걸맞은 풍격이라 하겠다. Shin Wi(申緯: 1769~1847) has been known to study the sacred Tang poems under the master Lee Gwang Ryeo(李匡呂: 1720~1783) in his early years and burned his writings after meeting Weng Fanggang(翁方綱: 1733~1818) in Beijing as a clerk of Jinjugyeumjucheongsa(陳奏兼奏請使) and put up the Yusoipdu(由蘇入杜) as a banner in learning poetry. This paper confirmed that the time when Shin Wi burned his writings was not after he met Weng Fanggang in 1812 but in his age of 18 in the summer of the Year of the Horse(1786). The study identified that Shin Wi burned his writings as a declaration to go against the imitative trend of revivalism and archaismof Han-Wei sacred Tang poems(漢魏盛唐詩) by Jeong Du Gyeong. It also revealed that the burning was influenced by Kim Chang Hyeop as an extension of the trend of antiarchaism in the late Joseon Dynasty. Shin Wi's 「Boonyeorok」(焚餘錄: 1787~1808) is the compilation of his writings from the burning to the Gyeongsudangjeongo(警修堂全藁). The book is composed of the poems that vividly described the natural landscapes as he went on a trip to enjoy the landscape with companions most of whom were the pupils of Lee Gwang Ryeo, including Song Hee Jung(宋喜鼎), Seo Yeong Bo(徐榮輔), Seo Gyeong Bo(徐 耕輔), Seo Ki Soo(徐淇修), Seong Jae Soon(成載淳) and Park Si Soo(朴蓍壽). The biggest feature of the poems in 「Boonyeorok」 is the realistic but plain description of the natural landscape and daily experiences with out pretension or exaggeration. Therefore, the aesthetic property of the poems in the book is the style that befits the real views of nature.

紫霞 申緯 연구의 현황과 과제

신일권 (사)한국인물사연구회 2008 한국인물사연구 Vol.9 No.-

申緯의 복권과 退職期 시의 특징

신일권 한국언어문학회 2014 한국언어문학 Vol.88 No.-

The period of Shin Wi(申緯:1769~1847)'s reinstatement and retirement starts mainly from when he was discharged from his exile in Pyeongsan by the special Royal order in April 26, 1834 until he passed away in December, 1847. During the period, Shin Wi discussed the direction of learning poetry with his pupils. The students he personally mentioned in "Gyeongsudangjeongo" were Geumryeong Park Yeong Bo(錦舲 朴永輔), Changgyeo Lee Gyeo Seung(昌溪李啓承), Mooknong Lee Yoo Won(默農 李裕元), Hasang Cho Woon Gyeong(荷裳趙雲卿) who was the grandson of Cho Si Wi(趙時偉), Yeorim Cho Woongeung(汝臨 趙雲兢)(brother of Hasang), Rhochang (Dosan) Cho Woon Yeong(蘆窓(陶山) 趙雲永, cousin of Hasang), Sosan Lee Yoo Shin(小山 李裕新), Hwang Ji Soo(黃之銹), and Gookin Cho Yeong Hwa(菊人 趙永和). The nature theory(性情論) was widespread among the writers, starting from Kim Chang Hyeop and Kim Chang Heup, who was at the center of the literary world from the late 17th century to the early 18thcentury. It was inherited to the Yonam Group after the 18th century and Shin Wi also adopted the theory following the Yonam Group. Shin Wi proposed nature(性情) as the direction of learning poetry to his students. He criticized the trend of 'only imitative of itself' of Wang Se Jung(王世貞) and Lee Ban Ryong(李攀龍), opposed mimicking, imitating and following without much thought by emphasizing writing poetry that exposes writer's nature. The aesthetic property of Shin Wi's poems during the period from reinstatement to retirement is the style of tranquility like his personal life.

Colonization and community changes in benthic macroinvertebrates in Cheonggye Stream, a restored downtown stream in Seoul, Korea

신일권,이훈복,배연재 한국생태학회 2011 Journal of Ecology and Environment Vol.34 No.2

Colonization patterns and community changes in benthic macroinvertebrates in the Cheonggye Stream, a functionally restored stream in downtown Seoul, Korea, were studied from November 2005 to November 2007. Benthic macroinvertebrates were quantitatively sampled 15 times from five sites in the stream section. Taxa richness (59 species in total)increased gradually over the first year, whereas the density revealed seasonal differences with significantly lower values in the winter season and after flood events. The benthic macroinvertebrate fauna may have drifted from the upstream reaches during floods and from the Han River, arrived aerially, or hitchhiked on artificially planted aquatic plants. Oligochaeta,Chironommidae, Psychodidae, and Hydropsychidae were identified as major community structure contributors in the stream. Swimmers and clingers colonized relatively earlier in the upper and middle reaches, whereas burrowers dominated particularly in the lower reaches. Collector-gatherers colonized at a relatively early period throughout the stream reaches, and collector-filterers, such as the net-spinning caddisfly (Cheumatopyche brevilineata), predominated in the upper and middle reaches after a 1-year time period. Cluster analyses and multi-response permutation procedures demonstrated that the Cheonggye Stream shares more similarities with the Jungnang Stream than with the Gapyeong Stream. Detrended correspondence analysis and nonmetric multidimensional scaling demonstrated that physical environmental factors (depth, current velocity, dissolved oxygen, and pH) as well as nutrients (total nitrogen and total phosphorous), water temperature, and conductivity could affect the distribution of benthic macroinvertebrates in the study streams.

신위의 불교시 연원 연구

신일권 ( Shin Il-kwon ) 위덕대학교 밀교문화연구원 2017 密敎學報 Vol.18 No.-

申緯는 전통적인 유교의 가문에서 성장했으나 그의 작품에는 불교적 성향의 詩들이 많다. 지금까지 신위에게 불교는 王維와 蘇軾으로부터 영향을 받아 지식축적과 학문적 확장을 위하여 받아들인 것이라고 연구되어 왔다. 그러나 본고는 신위의 불교적 성향의 시들은 대부분 자하산장 은거, 평신진첨사좌천, 평산유배의 기간으로 1830년에서 1834년 사이의 작품들임에 주목하였다. 그 결과 신위의 불교적 성향의 시들은 당시 신위가 안팎으로 처한 개인사적 憤恨과 99개의 암자가 있었다는 자하산장이라는 은거 장소의 주위 환경과 승려들과의 교유 등의 영향이었음을 밝히고자 하였다. Shin Wui(申緯) grew up under the influence of traditional Confucianism but he wrote many Buddhist poems. Until now, it has been known that Shin Wui accepted Buddhism for knowledge accumulation and academic expansion influenced by Wang Wei(王維) and Su Shi(蘇軾). However, this study was intended to reveal that Shin Wui wrote Buddhist poems due to his personal historic angers, the surrounding environment of his hermitage at the Jaha mountain cottage with total 99 hermitages and exchange with Buddhist monks by focusing the fact that most of Shin Wui’s Buddhist poems were actually written between 1830 and 1834 during his retirement at the Jaha mountain cottage, his relegation to Cheomsa, the position of local minor officer at Pyeongsinjin and banishment at Pyeongsan.

신위(申緯)의 불교시에 나타나는 특징

신일권 ( Shin Il-kwon ) 위덕대학교 밀교문화연구원 2019 密敎學報 Vol.20 No.-

본고는 紫霞 申緯(1769-1847)의 불교시에 나타나는 특징을 살펴보는 것을 목적으로 했다. 申緯는 전통적인 유교의 가문에서 성장했으나 그의 작품에는 불교적 성향의 詩들이 많다. 본고는 신위의 불교시에 보이는 특징으로 선취시의 특징, 불교사상의 문학적 수용을 살펴보았다. 신위의 불교시에는 禪的인 자연관조를 통한 우주적 자각이 바탕이 되어 있고, 자연사물을 노래하면서도 자연흥취만을 노래한 것이 아니라 禪悟, 禪理, 禪趣가 있다. 또 신위는 불교의 空사상을 문학에 수용하여 詩化했으며, 不立文字사상은 그의 시에서 言外之味를 가져와 시 밖의 뜻을 남게 하였다. 이처럼 신위의 시에서 불교사상은 한 차원 높은 시적 깊이를 담아내어 그의 시가 더욱 완숙한 경지에 이르게 되는 바탕이 되었다. This study were examined On the characteristics shown in Shin Wui(申緯)’s Buddhist poems. Shin Wui grew up under the influence of traditional Confucianism but he wrote many Buddhist poems. This study were examined On the characteristics of zentic poetry and literary acception of Buddhist thought as the characteristics shown in Shin Wui’s Buddhist poems. Shin Wui’s Buddhist poems were based on universal awareness through zentic natural contemplation and this poems not only talk about natural objects and pleasure but also Zen enlightenment, Zen - li and Zen-fondness. And, Shin Wui adopted and poetized the Sunya idea of Buddhism into the literature, and the Buddhist revelation, intuitive discernment brought hidden feeling between the lines in his poems, showing the meanings beyond the poems. Like this, the Buddhist thought in Shin Wui’s poems provided higher poetic depth, becoming the basis for his poems to reach more higher stage of poetry.

守拙堂 李宜潛의 생애와 詩文學을 통해 본 삶의 行蹟

신일권(Shin, Il Kwun) 국제언어문학회 2016 國際言語文學 Vol.- No.35

본고는 守拙堂 李宜潛(1576-1635)의 생애와 詩文學을 통해 삶의 行蹟을 살펴보는데 목적이 있었다. 수졸당의 학문 연원은 어렸을 때 父 수암공으로부터 학문의 기초를 익히고, 大庵 朴惺, 芝山 曺好益, 愚伏 鄭經世에게서 학문을 배웠던 것으로 확인된다. 수졸당은 집안에서는 효성과 우애가 깊었고, 임진란으로 나라가 위기에 처하자 칼을 들고 팔공산회맹과 화왕산회맹에 참여하였다. 수졸당이 교유한 인물들 또한 거의 대부분이 이때 만났던 사람들로 각 지역 사람들과 폭넓은 교류를 하게 되는 바탕이 되었다.『守拙堂逸稿』에 남겨진 시문학을 통해 수졸당은 평소에 늘 나라에 대한 충정어린 걱정을 하곤 했으며, 또한 盡忠報國에 대한 의식이 강하였음을 알 수 있었다. 또한 형제우애와 가족애 그리고 가학계승과 가문진흥에 대한 애착이 남달랐으며, 이 때문에 만년에는 벼슬에 대한 뜻보다는 가문을 일으키면서 전원에서 한가로이 지내고자 하였음을 확인 할 수 있었다. 수졸당은 위로 두 형님이 일찍 졸하자 셋째인 雪川亭과 함께 가학의 전통을 계승하는데 혼신의 힘을 기울였다. 양동이 회재를 낳았다면 양동마을의 형성은 설천공과 수졸당에 의해 그 바탕이 이루어졌다. The purpose of this study is to review Soojoldang Lee Eui-jam’s life trajectory (who lived from 1576 to 1635) through his life and poetry. When Soojoldang was a child, he learned the basics of learning from his father, Suamgong, and studied under Daeam Park Sung, Jisan Jo Ho-ick and Woobok Chung Gyung-se. Soojoldang was devoted to his family. When the country fell into crisis because of Japanese invasion of Korea in 1592, he participated in Palgongsan Alliance and Hwawangsan Alliance. Most of the people who he kept company with were participants in those alliances, which provided him with an opportunity to have different types of exchanges with people from various regions. Soojoldang’s poems included in 『Sujoldang Ilgo』 suggest the following: He was always worried about his country out of a sense of patriotism and had a strong mind to repay the country with utmost loyalty; he was on good terms with his siblings and had a deep love of his family; he had an uncommonly strong mind to follow the academic tradition and enhance the status of his family; he intended to live an easy life in the countryside in old age while trying to enhance his family’s status instead of serving as a government official. Soojoldang made every efforts to follow his family’s academic tradition with his third elder brother, Sulchunjung, after his two eldest brothers’death at an early age. Yangdong village produced Hoejae, and Sulchunjung and Soojoldang laid the foundation for forming that village.

申緯의 ‘자하체’ 형성에 관한 연구

신일권(Shin, Il-kwun) 대동한문학회 2016 大東漢文學 Vol.46 No.-

본고는 紫霞 申緯(1769~1847)의 ‘자하체’ 형성 과정과 그 특징을 밝혔다. 또한 신위의 서예 작품을 알아봄으로써 당시 신위의 서예 활동과 위상을 가늠해 보았다. 신위의 서예 연원은 조선후기 소론 명필의 계보를 잇고 있다. 白下 尹淳은 米芾과 董其昌의 서예를 수용하여 圓嶠 李匡師를 비롯하여 豹菴 姜世晃과 松下 曺允亨에게 영향을 미쳤다. 신위는 스승 강세황과 장인 조윤형의 衣鉢을 계승하여 조선후기 미불･동기창 서풍 유행의 전성기를 주도했다. 또 신위는 서예 학습에서 연행 이전은 왕희지를 근간으로 하여 미불･동기창･황정견･조맹부･소식･윤순의 서체로 쓰인 帖學 중심이었고, 연행 이후는 옹방강의 영향으로 碑學도 아울러 병행하였으며, 특히 한나라 예서 비첩을 임서하였다. 따라서 신위는 첩학에 비학을 더해 ‘虛和神韻’이 특징인 자신만의 독자적 ‘자하체’를 완성하였다. 신위의 글씨는 당시에 조선뿐만 아니라 중국과 일본까지 널리 알려졌다. 또한 신위가 임금을 대신하여 자주 글을 썼고, 대궐의 편액을 썼으며, 정조･순조･익종(효명세자)･헌종 4조정에 걸쳐 임금으로부터 글씨로 인정받았음이 확인되었다. This paper identified the creation process and characteristics of ‘Jaha calligraphy style’ of Jaha Shin Wi (1769~1847) and examined his calligraphy activity and social status at that time by reviewing his calligraphy works. In calligraphy, Shin Wi joins a long line of master calligraphers of the Soron Faction in the late Joseon Dynasty. Baekha Yoon Sun accepted the calligraphy styles of Mi Fu and Dong Qichang and influenced Wongyo Lee Gwang-sa, Pyoam Kang Se-hwang and Songha Jo Yoon-hyeong. Shin Wi inherited the traditions of his mentor, Kang Se-hwang and his father-in-law, Jo Yoon-hyeong, and led the golden age of the calligraphy styles of Mi Fu and Dong Qichang. In learning calligraphy, Shin Wi concentrated on the Te School (or the manuscript school) calligraphy written in the calligraphy styles of Mi Fu, Dong Qichang, Huang Ting Jian, Zhao Mengfu, Su Shi and Yoon Sun centered on Wang Xi Zhi, in the period before his journey to Beijing, and learned it together with the Bei School (or the monument school) calligraphy under the influence of Weng Fanggang in the period after the journey. Shin Wi wrote after the inscriptions and copybooks in the clerical script style (Li Shu calligraphic style) in the Han Dynasty in particular. So, Shin Wi added the Bei School calligraphy to the Te School calligraphy and completed his unique ‘Jaha calligraphy style’ characterized by ‘simple sublimity’. Shin Wi’s calligraphy was widely known to not only Joseon but also China and Japan at that time. He frequently wrote in place of the king and on the tablets in the royal palace. It is confirmed that Shin Wi was credited for calligraphy by four kings such as King Jeongjo, Sunjo, Ikjong (Prince Hyomyeong) and Heonjong.

申緯의 題畵詩에 나타난 畵論 硏究

신일권(Sin, Il Kweon) 國際言語文學會 2004 國際言語文學 Vol.- No.9