다산 정약용의 제화시 연구

Abstract

The purpose of this paper is to check the current status of Painting Poetry 題畫詩 by Tasan 茶山 Chŏng Yak-yong 丁若鏞 and to consider its format and content characteristics. Collective Works of Yŏyudang 與猶堂全書 and other sources confirm Chŏng Yak-yong’s Painting Poetry is composed of 62 poems with 53 titles, seven of which are Painting Poetry on real objects. The types of works can be divided into two types: short-form in ancient poems or Jueju (quatrain) and Lüshi (poetry composed of eight lines of five or seven syllables) and long-form ancient poems. Short-form works were usually created in a way that concisely depicted the artifacts on the canvas and added speculation about the character’s mind or viewer’s opinion. On the other hand, poems with a focus on the elaboration of the painting’s theme, poems that require attention to individual objects, and poems intended to contain a person’s deeds or narrative took the long-form ancient poems. In the case of other poems focused on a painting’s intention, they show a way of developing that deviates from these two types. There are three distinct aspects that appear in terms of content. The first is the expression of painting’s discourse, which shows Tasan’s interest in realistic portrayals. The second is that there are frequent subjective interpretations of painting’s intension. In works such as “題乘龜仙人行雨圖 (a poem on a painting of a Taoist ascetic with miraculous powers who pours rain, riding a turtle)”, “題顔師古王會圖 (A poem on a painting of Wanghui of An Sigu)”, and “題西湖浮田圖 (A poem on a painting of futian in Sihu)”, there is an expansion of painting’s discourse through creative interpretation. “題蛺蝶圖 (A poem on a painting of Butterflies)” and “題柳相國漏屋持傘圖 (A poem on a painting of prime minister Yu holding an umbrella in a leaking house)” are works that attempted to criticize the world from the poet’s point of view through the allegorical intention of the painting. The third is the tendency to emphasize the utility of the subject of the painting in Painting Poetry. Including A, which criticized the sumptuous trends of high-ranking government officials of the time, “題柳相國漏屋持傘圖”, “題鄕飮酒 禮圖後 (A poem after a painting of a ritual of drinking)”, “金陵全圖 (A landscape painting of Kŭmnŭng)”, “戲作苕溪圖 (Draw a picture of Ch’ogye for pleasure)” reveal the social/personal utility of the paintings. The discussion in this paper was attempted to investigate the various aspects of Tasan’s poetry literature. I hope that it will be able to contribute to the comprehensive and holistic understanding of Tasan’s poetry literature in the future.