情⋅景과 예술에서 正反合의 관계성 一考 ― 전겸익 시론을 중심으로

Abstract

It can be said that the ideology of Art Thesis⋅Antithesis⋅Synthesis is the total of the most typical art experience in the history of Chinese poetry development. The confrontation and unification of the contradictory elements, included in works of art can be identified by the propositions of literary theory. Among the propositions, “Feeling” and “Scenary” contains those features intactly. Thus, this paper aimed to consider the archetype, the semantic category and the value of the artistic sceneries, completed in the process in which each of “Feeling”, a subjective subject of creation and “Scenery”, an objective object ①took one-way action and ②moved towards convergence again. For comprehending specific action of “Feeling” and “Scenery”, according to the topic presented above, a personal poetic theory was selected. Focusing on the poetics of Qian Qian-yi, who was the leader of the poetical circle from the late Ming to the early Qing dynasty, first, this paper examined the semantic category and the value of the archetype of “Hakmunjigyeong”, completed through active action of the creative subject. Second, this paper analyzed the semantic category and the value of the archetype of “the true feeling that the luck of the times means”, completed through active action of the objective object. Third, this paper identified the relation between “Feeling”⋅“Scenery” and Art Thesis⋅Antithesis⋅Synthesis by looking into the process in which the key elements of Qian Qian-yi’s poetics; learning, the mind of spirit, and the luck of the times, were converged within the frames of the creative subject and the objective object.