관보(寬甫) 조홍진(趙弘鎭)의 『필적유휘(筆跡類彙)』와 조선 후기 소론계 문인들의 심학적 서화인식 연구

Abstract

Based on the analysis of PilJeokYuWhee by Gwanbo Cho Hong-jin (寬甫 趙弘鎭, 1743-1821) of Soron circles, this study examines the Yangmingian aesthetic consciousness of the literary artists from the Soron faction. Cho Hong-jin was a member of Chogyemoonsin (抄啟文臣) and edited PilJeokYuWhee with outstanding insight and a clear standpoint as a Confucian scholar. His PilJeokYuWhee is organized and edited based on Soron’s political perspective and has a clear motive as well as the record of the production period, consistent overall composition encompassing poetry, calligraphy, and literature. The collection is quantitatively and qualitatively significant and contains Cho Hong-jin’s distinct views over paintings and calligraphies. Its historical value, therefore, is abundant. In particular, the 2nd and the 3rd volumes, Summer and Autumn include the works of literary artists whose value surpassed the times and offer a chance to review the overall appearance of literary arts from the 17th to the 18th century and grasp the flow of art history. For example, the 2nd and the 3rd volumes have a list of paintings from the mid to late Joseon Dynasty, created by exemplary noble artists such as Jo Sok(趙涑) and Jo Ji-un (趙之耘), Yun Du-seo (尹斗緖) and Yun Deok-hui (尹德熙), and Cho Young-seok(趙榮祏), which makes us understand Cho Hong-jin’s viewpoint on the literary arts and suggests the affluence of artistic values. In addition, based on the fact that Cho Hong jin grounded the composition of PilJeokYuWhee on the academic faction of Soron, the study compared Yi Ha-gon(李夏坤), Cho Gui-myeong(趙龜命), and Cho Hong-jin(趙弘鎭), Jeong Ji-soon(鄭持淳) whose psychological criticism and thematic awareness have been well expressed, with those of Yi Yong-hyu(李用休) who was part of Nam-in (the People of the South) Suburban factions; and concluded that the commonalities of their perspectives on the literary arts covered first, a deviation of the Neo-Confucian Domun (道問, Inquiries upon the way of life) standpoint, second, emphasis on the individual subjectivity, third, the logic of subjective and active self-acquisition and practice, and fourth, psychological aesthetic orientation. In short, the late Joseon Dynasty was a period in which a new viewpoint of art and awareness of paintings and calligraphies focused on the mind was born based on the establishment of Wang Yangming’s thoughts and the aesthetic theory that pursues the truth (眞). These efforts and practices resulted in broadening the scope of modern-oriented aesthetic consciousness that realizes the true face of the human subject by accelerating the recovery and conversion away from Neo-Confucian rationalism emphasizing formal norms to active subjectivity, the mind of the self (吾心), true self (眞我), and return-of-the-self (還我), and triggered a Yangmingian aesthetic consciousness.