추사 김정희 예술에 나타난『유마경』 수용의 흔적

Abstract

Chusa Kim, Jeonghui was born in the family which had a temple for the wishes, and he was a Buddhist grhapati who has practiced asceticism such as Barugongyang(鉢盂供養, monastic meal), Jahwachamhoe(刺火懺悔, repentance receiving the commandments of Buddhism) and etc. in Bongeun temple since the spring of the last year of his life until he died in his age of 71. This study guesses a background that Chusa Kim, Jeonghui accepted Wéimójīng(維摩經, Vimalakirti Sutra) and an evidence about acceptance of Wéimójīng(維摩經, Vimalakirti Sutra) shown in his art theory and his creation of calligraphy and paintings. Chusa was a person of a reputable family and maternal relative of royal family, and he moderately accepted the Buddhism because he was born in the family which had a temple for the wishes. He considered that he could only achieve the Buddha’s boundary through Buddhist classics, and he also supposed that Buddhist learning, like Confucianism, had an awareness system to achieve an ideal boundary, Paradise, only through a moral cultivation. It shows his criticism on the Buddhism and the Buddhist monks of the time. Chusa’s thought is fundamentally correlated to that Wéimójīng(維摩經, Vimalakirti Sutra) gave a rebuke to the contemporary religious body about their narrow-minded and wrong Buddhist performances such as Shēngwén(聲聞, a performance to realize the truth only through Buddhist sermon) and Yuánjué(緣覺, a performance to realize the truth by oneself without Buddhist moralization). The exemplary poets whom Chusa has mentioned are almost same as the poets who accepted Wéimójīng(維摩經, Vimalakirti Sutra). His theory that poem, calligraphy and paintings have the same ideal boundary as the principle of Zen has is somewhat related to Wéimójīng(維摩經, Vimalakirti Sutra), and he compared the boundary of calligraphy with Sīkōngtú(司空圖)’s Èrshísìshīpǐn(二十四詩品, twenty four poetry criticism) under this theory. In addition, he insisted that the relation between the realm of Buddhism and the phenomenal world corresponds the relation that between ‘one but also two’ and ‘two but also one’ and stuck to the opinion that calligraphy and paintings are correlated to the principle of Zen. This kind of boundary makes the exterior of objectivity and the ego of subjectivity harmonious. Chusa emphasized a subject’s free will to realize his theory that poem, calligraphy and paintings have the same ideal boundary as the principle of Zen has. It is the spiritual boundary of absolute freedom without any external influences or restrictions. In this respect, Chusa’s artistic spirit and creative practice are correlated with his Chánzhǐ(禪旨). Sansagujak(山寺舊作) is known as the calligraphic work he created by chance, reminding the poem which he has written in the past, in the last year of his life and expresses his theory that poem, calligraphy and paintings have the same ideal boundary as the principle of Zen has. This theory, a proper province of his artistic spirit, was expressed in Buriseonnan(不二禪蘭), which he painted in his latter years. Buriseonnan(不二禪蘭) was the orchids he painted in the boundary of Zhēnkōngmiàoyǒu(眞空妙有, profundity between the authenticity and the emptiness) Chusa thought that the characteristics of poem, calligraphy, paintings and the principle of Zen are the same. The boundary which they should achieve corresponds with the profound enlightenment of the principle of Zen. This artistic spirit could not be inferred by a general creative spirit or aesthetic supervision. The analysis of Chusa’s calligraphy and paintings found that his art work were created in the absolute boundary that could not be expressed with any languages as Wéimó(維摩, Vimalakīrti) kept silence.