“未可與權”說에 나타난 孔子 經權觀의 미학적 구조 분석

Abstract

Since Confucius raised the concept of quan 權, there have been two branches of interpretation. In terms of content, there was a branch involving the moral or political understanding of the problem of practicing quan, and there was also a distinction in interpretation of the concept between the Han 漢 and Song 宋 Dynasties in Chinese history. Confucius did not unconditionally maintain the absolute nature of the moral code because, in context, the logic of political philosophy overwhelmed the logic of moral philosophy. Confucian scholars of the Han Dynasty used fan jing 反經 (the violation of principles) to explain quan in this context. On the other hand, Cheng Yi 程頤 asserted that, aside from outcomes, if moral principles are violated in the process of practicing quan, then quan is fundamentally unjust. Thus, said Cheng Yi, quan is rendered machinations only. Zhu Xi 朱熹, understood quan as a higher concept than jing. “Gong xue 共學 (studying together)”, “shi dao 適道 (going on to principles)”, “yu li 與立 (getting established together)”, and “yu quan 與權 (practicing quan together)”—points in the topic sentence of Analects 9.30—are each an independent step, and they have a gradual upward structure rather than a parallel structure. This structure is analogous to the hierarchical structure of the four-class system of art in East Asian aesthetics. In this gradual upward structure, xue 學 is the start, shi dao 適道 is the process of completion, li 立 is the state of completion or establishment, and finally, quan 權 is the ultimate state of yi-ge 逸格 after completion. In this framework, quan deviates from the instruction manual of jing, and, in doing so, realizes the meaning and value of jing on a more transcendent level.