退溪의 「天命新圖」와 ‘存養’의 삭제

Abstract

This paper reexamines the meaning of the study area represented by ‘jionyang’ and ‘reflection’ in ‘Cheonmyeongsindo(天命新圖)’, which is likely Toegye Lee Hwang’s last work. In the case of 「Cheonmyeongshindo」 produced by Toegye, no relevant explanation, including the time of completion, remains in the records of Toegye's time. In addition, it is difficult to accurately understand the meaning of 「Cheonmyeongshindo」 because the works are currently scattered across various literature and there are differences in iconography between manuscripts. Among them, a particularly problematic issue is that the character ‘Jionyang(存養)’ in 「Cheonmyeongshindo」 has been deleted from many copies of 「Cheonmyeongshindo」, including 『Toegyejip』and 『Cheonmyeongshindo』. 「Cheonmyeongshindo」 in 『Toegyejip』is a direct historical source, and as Toegye intended, ‘Akgi(惡幾)’ is divided in half. It is also a work of art with very high accuracy and completeness down to the smallest detail. Therefore, it is highly likely that the deletion of the character ‘Jonyang(存養)’ from the Seongg(性) section was also Toegye’s intention. Here, the Seongg(性) section of 「Cheonmyeongshindo」 is a painting that emphasizes the space of pure li(理). Additionally, as ‘Reflection’, which was part of the Jeong(情) section, was moved to the Seongg(性)(性) section above ‘Akgi(惡幾),’ the point of time for actual study was added to 「Cheonmyeongshindo」. Considering this revised meaning of the icon of 「Cheonmyeongshindo」, if ‘Jonyang(存養)’ exist in the sacred realm of 「Cheonmyeongshindo」, then ‘Jonyang(存養)’, which is a conscious act within the space of pure li(理) of original intelligence. And this is ‘study to seek the mind within the mind’, which is the evil of studying stillness and silence, which Toegye was not aware of at the time of producing 「Cheonmyeonggudo」. Therefore, it is suggested that Toegye did not omit ‘Jonyang(存養)’ from 「Cheonmyeongshindo」 by simple mistake.