한국 현대시로 전이(轉移)된 김정희 그림 <세한도(歲寒圖)>의 세계: '문화적 기억'으로서의 시와 그림의 상관성 연구

Abstract

As one of the persuasive fields of comparative literary studies, HenryH. H. Remark has emphasized us to compare literature with other art.Understanding the importance of such a comparison, I have focused on thecontemporary Korean poets who have transfered Cheong-HuiKim’spainting into their poems. Cheong-Hui Kim(1786-1856) is one of the mostimportant Korean painters in the history of Korean paintings. Not only asa wel-known politician but also a leading painter of his day, Kim wasinterested in the genre including painting itself, Chinesewritings known asChusache, studies in the field of monumental inscriptions.In my study, I have compared Kim’s painting entitled “Sehando ”(Painting in the Period of Cold Weather)with contemporary Korean poemsfrom such poets as the 1950s to the 190s. Having compared Kim’spainting with the various twenty-five contemporary Koreanpoets and theirthirty-one poems, I have found out hat ‘cultural memory’ has ben themain stream of their spiritual factor in their world of art and poetry:confirmation of identity as a Korean ancient and modern, emphasis on theindomitable life-style in the period of opresion, understanding the visionof everlasting honest atitude, and recognition of the important Koreancultural heritage.Through their poetic atitudes toward Kim’s painting, the world ofcontemporary Korean poets can be divided into four categories: they arethe poems mainly related to the postscript of Kim’s painting, the poems ofrecognizing the reality of the painting itself, poems of reflecting individual emotions, and the poems of visiting the place where Kim was exiled to theCheju Island. To follow up the needs of international flows of comparative literary studies, the importance of comparing poetry with painting should be understood in our comparative literary society.