退溪 山水遊記의 空間形象과 그 道學的 性格

Abstract

Toigye left two works of Sansuyugi. According to Sansuyugi, mountains and rivers themselves do not offer pleasure. As dictated in the logic of Simyeoriil, the subject of pleasure was Toigye himself. There is a need to focus on spatial figurations to check this. Spatial figurations are comprised of scene units, and each scene is organized in the process of "Sagyeong→Yubi→Uiron." Since the composition is clear, it will naturally have a principle. The principle of composition in spatial figurations is the restriction of scenes by the duration of sightseeing, the process of "Sagyeong→Yubi→Uiron" in each scene, and Uiron based on the logic of Simyeoriil. The orientation of this principle of composition can be found in methods of Sagyeong. They include the method of expressing the active nature of mountains and rivers and that of depicting distant scenes in details. While the former has direct impacts on Uiron, the latter affects it opposite to Uiron. They, however, share auxiliary roles in the emphasis of a need to cultivate personality. From this perspective, spatial figurations have Dohak nature in two aspects: one is to embody Ri-Il through Bunsu, and the other is to pursue unity between the Heaven and man at the practical level.