김춘수의 『處容斷章』에 구현된 처용탈 이미지 고찰 -「처용단장 제1부」를 중심으로-

Abstract

This paper is an attempt to assume Cheoyong mask as the physical object of the abstraction process of the first part of the 「Cheoyongdanjang」 and to clarify that the first part of the 『Cheoyongdanjang』 was abstracted based on the object of Cheoyong mask. In the early stages of exploring Nonsense poetry, Kim Chun-soo forms a formula by writing works such as 「Snow in Chagall's Village」 and 「Dream of Winter Night」. It is the process of setting a physical object and moving to abstraction based on that object. Eventually, Kim Chun-soo learned the technique from illegitimate to abstract under the influence of Paul Cezanne. The specific technique was reconstruction of the object and free association. This paper try to prove that the first part of the 『Cheoyongdanjang』 Chapter was created based on this technique. Kim Chun-soo once revealed that the subject of the first part of the 『Cheoyongdanjang』 Chapter is Cheoyong. At this time, Cheoyong has an abstract character as a figure in a narrative or poem. Cheoyong mask exists as a physical object that can overcome this abstraction and secure specificity. This paper assumed Cheoyong mask as a physical object and extracted color and shape images from it. As a result, it was confirmed that the color images of Cheoyong mask consisted of five colors: blue, white, red, black, and yellow. In addition, in the first part of 『Cheoyongdanjang』, this five-color was transformed into various materials such as the sea, snow, Sandahwa, capes, and golden calves, overlapping or breaking down boundaries, and was structured in a mosaic-like shape. In addition, it was confirmed that the main shapes of Cheoyong mask were masks, Samo, peach branches, suwha, husu, and earrings. In this regard, in the first part of 『Cheoyongdanjang』, it was confirmed that the small eyes of the mask were transformed into mice, the patterns of Samo were butterflies and snows, the peach fruits were apples, suwha was transformed into Sandahwa, and the guardian was transformed into a cloak or abstracted. This fact can be seen as proving that Cheoyong Mask's color image and shape image were transformed or reconstructed in the first part of 『Cheoyongdanjang』 through the abstraction process. As described above, this paper considered that Cheoyong Mask is located as the object of the first part of the 『Cheoyongdanjang』, paying attention to the pattern of physical objects in the abstraction process of meaningless poetry. It is believed that a new paradigm can be provided by placing the Cheoyong Mask at the center in analyzing the 『Cheoyongdanjang』.