관동팔경 청간정의 명승화(名勝化) 과정과 시적 형상화의 특징

Abstract

Cheongganjeong(淸澗亭) was recognized relatively late among Gwandongpalkyeong(關東八景). The works dealing with this place by Choi Lib, Yang Saeon and Yi Sik, in particular, created strong impression on authors in the late Joseon Dynasty. The literary tradition established by later works’ responding to the previous ones related to Cheongganjeong led this spot certainly to be one of the sites among Gwandongpalkyeong. Later works on Cheongganjeong had different tendencies, depending on whose previous poems they communicated with. The works of Yang Saeon(楊士彦) and Yi Sik(李植), generally showing the Taoistic imagery, suggested Cheongganjeong as an imaginary space. On the other hand, Choi Lib(崔岦), who wrote rhyme-borrowing poems frequently, highlighted the characteristics of its natural scenery. Those characteristics such as Cheongganjeong’s location closely by the sea, infinitely open thalassic image for Confucian scholars not to easily encounter in their daily life and the fantastic scenery of sunrise and sunset at the sea were the essential factors that made Cheongganjeong distinct from the other sites among Gwandongpalkyeong. The vigor and the spirit felt from the widely open sea on the pavilion, its resultingly expanded imagination, and the literary works reflecting all these elements make readers form a distinctive recognition on Cheongganjeong. In the very respect, it is related literary works that transform Cheongganjeong as a originally natural space into a cultural or humanistic one and also contribute to the process of its becoming a scenic site.