丁若鏞의 실학적 서화미학에 관한 연구

Abstract

Dasan Jung Yak Yong (1762-1836) compiled Shilhak (實學: Realist School of Confucianism), critically accepting Yoo Hyung Won and Yi Ik's idea of Kyongsehchiyong (經世致用: A Confucian idea insisting that studies should be practically contributed to the society), Bukhak (北學: A school established by Shilhak scholars in Joseon Dynasty)'s idea of Yiyonghusaeng (利用厚生: An idea pursued by Shilhak scholars of the Bukhak School meaning prosperous economy and satisfied living status including clothing, food, and housing), and studies of Calligraphic, Buddhism, studies of Yang Myong, and of Kojeung. He must also have had a significantly high level of poetry, writing, and painting for many of his works on Jehbal (題跋: A name of Chinese-styled sentences) in regard to pictured poems, and Calligraphy and painting besides Shilhak still remain. Especially his Shilhak, linked to the overall field of literature, sometimes works as a basis for the aesthetics and criticism of Calligraphy and painting. His practical and progressive view of Shilhak moves toward a point in which the adhesion of the old is no more pursued and the practicality of the present is more focused on. He criticizes the blind classicism under which it insists that the older is always the better and things now are not as worthy as those back then and pursues technical improvement. This does not mean that he completely rejects the ancient thought but refuses to uncritically accept the introduction of the advanced outcomes of civilization. In calligraphy, he criticizes the classicism-oriented and passive aesthetic consciousness of Joseon Dynasty in which Wang Hi Zi and the artistic system of renowned figures is absolutely regarded as best. Accordingly, he rather sticks to the open and practical idea of positively accepting the techniques of Song and Ming Dynasty which had developed in the history of calligraphy since Wang Hi Zi. His view of Shilhak, generated from his thorough awareness of the era and understanding of the reality, is linked to the two axes of 'practicality' and 'truth' in the overall literature field. In painting, he opposes the idea of ideal painting in regard to mentality which expresses carelessly and bizarrely in the state of not being practical and pursues the awareness of the importance of being practical based on real objects. In calligraphy, he sees that the letter of the day only focuses on the beauty of its appearance and lacks the practicality and truth and its original essence is gone. For this matter, he is standing in a position in which he criticizes the fact that art had way too much leaned toward ideal trend and he seeks to realize the truth and purity of art. It should be notable that he evaluated Yi Kwang Sa, a scholar of studies of Yang Myong and calligrapher, as the best calligrapher of the day. Of many possible reasons, it seemingly has something to do with the thought of Studies of Mentality of Yang Myong absorbed in his Shilhak. That is, despite the atmosphere of the time when Confucianism was prevailing, he applied the academic system of Yook Sang San, and Wang Yang Myong to his own studies and this shows that he positively accepted the academic tendency of practical ethics of studies of Yang Myong. Through his indirect realization of Yi Kwang Sa's artistic spirit of mentality studies, he expresses practical thought which is apart from Confucianism. He intended to reveal his active and practical academic thought indirectly through art criticism regarding Yi Kwang Sa. Thus, it can be said that Jung Yak Yong's aesthetic thought on Calligraphy and painting was formed by the practical thought which was apart from Confucianism and the critical acceptance of Studies of Mentality of Yang Myong.