金時習“心儒跡佛”的實質及與李白的文學關係
The nature of Kim Si-seup’s ‘spiritual Confucianism and performs of Buddhism’ and the literary relationship with Li Bai
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作為朝鮮朝前期的“詩能”，金時習的漢詩“格高思妙，迥出常情”，後人常以“神邈”二字概括其漢詩風格。李珥對金時習“心儒跡佛”判語的局限性就在於忽略了金時習“心儒跡道”的實質。本文意在考察金時習“心儒跡佛”的實質及與李白的文學關係。金時習與李白都具有跌宕飛揚的性格，他把儒家建功立業的抱負與道家隱居求仙的嚮往緊密結合在一起，“終與安社稷，功成去五湖”的人生理想在深層精神結構上與李白“莊屈並為一身”的特質相契合。李白自由浪漫、壯麗誇張的詩歌使唐代的道教美學達到登峰造極，金時習“清邁脫俗，自去雕飾”的山水詩也彰顯出道教率性自然的詩歌美學。金時習的詩歌風格與李白契合相類，二者的內在精神具有深厚的淵源與聯繫。
Abstract
As the ‘poetic master’ of the early Joseon Dynasty,Kim Si-seup’s Chinese poetry is in wonderful thinking, which later generations often summarize as ‘Shenmiao’(mysterious).The purpose of this paper is to investigate the essence of Kim Si-seup's ‘spiritual Confucianism and performs of Buddhism’ and its literary relationship with Li Bai. Kim Si-seup and Li Bai both had a dynamic character. He closely combined the ambition of Confucianism to make achievements and the yearning of Taoism to live in seclusion and seek immortals. Li Bai's liberal, romantic, magnificent and exaggerated poems reached the peak of Taoist aesthetics in the Tang Dynasty. Kim Si-seup's landscape poems practiced "Qing Mai refined from vulgarity and carved by oneself", and also demonstrated the spontaneous and natural Taoist poetry aesthetics. Kim Si-seup's poetry style is similar to Li Bai's, and the inner spirit of both of them has a deep source and connection.
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