조희룡(趙熙龍)의 임자도 유배기 한시 연구

Abstract

Cho Hee-ryong's artistic achievements and art theory have been under the spotlight from an early age. On the other hand, I think that his Chinese poems stayed at the level of commentary. Therefore, this paper tried to re-examine his exile poetry from the perspective of the analysis of works. Cho Hee-ryong was exiled to Imja-do, Jeolla-do in his later years and lived there for three years. I analyzed the personality and characteristics of his exile poetry using 『Uhaeakamgo』, which contains the works of poetry from this period. He preferred to write a series of short poems popular in the late Joseon Dynasty. In his poems depicting the scenery he saw during his exile and directly from the place of exile, he made a small landscape like a landscape painting. In addition, in <Hoein Jeolgu(懷人絶句)>, which inherits the tradition of his Hoein poetry(懷人詩), he especially lyrically evaluates the essence of a specific painter based on his own perspective as a painter. His poems narrated in a pleasant tone the daily feelings of exile, and he called himself a playful poem. Even in his poems, Buddhist language was used for jokes and humor. This seems to reflect the attitude of his life that he tried to live happily in exile. The world that Cho Hee-ryong was immersed in in exile was poetry and painting. He insisted on the traditional theory that poetry and painting are one, and further suggested a creative method of writing poetry through painting. This is a method of borrowing the meaning of a painting(畫意) and creating a poetry scene(詩境). He embodied such a creative method in his own poetry. Cho Hee-ryong pursued the poetry of a painter that was different from that of a writer. He referred to the joy of creating freely by immersing himself in poetry and painting with the word 'Playing Sammae(遊戲三昧)', and he also embodied himself in such a state of joy in his poems.