韓中 산수문학에서의 山水形象化

Abstract

This thesis discussed figuration of landscape in Korean and Chinese landscape literatures focusing on Euisang(意象). In China, landscape literature was created by Saryeungwoon(謝靈運) in the Wee Jin Nambukjo(魏晋南北朝) Period. In terms of pure Korean literature, landscape literature was completed in Sijo(時調) and Gasa(歌辭). This thesis attempted to establish theoretical discussion of figuration of landscape by understanding landscape literature as a literature trend and focusing on the commonality between landscape literature and figuration of landscape. Furthermore, landscape literature developed to an art theory from theoretical aspect by overcoming the border of genre. Then, this thesis reviewed the process and pattern of art conceptualization from the perspective that poem and figuration is the same by focusing on this point. The contents can be summarized as follows. First, concentration and Hyungsa(形似) oppression embellished landscape literature as a rhetorical theory. Concentration was the formation as symbolic Euisang(意象) that represents the entire figuration. Hyungsa(形似) oppression made it possible to reorganize the form of beauty with an emphasis on the spirituality by creation and selection. Second, Yijung(移情) and semantic existence are discussion on the formation of the beauty of contents. Biduk(比德) and Jeonshin Sajo(傳神寫照) are the representative techniques. They are the internalization of landscape, and expressed great nature as an independent being with spatial perfection. Further, it formed the artistic stage of the beauty of simplicity based on Confucian aesthetic awareness. Third, Jeukmool(卽物) and Chulripyosang(哲理表象) are discussion about the beauty of landscape of the season and the beauty of great nature. In other words, it expressed the Euisang(意象) of the metaphysical ideological beauty by reasoning ‘general beauty’ by summarizing the individual features of scenery of the season.