화양구곡(華陽九曲) 조성의 시공간적 배경과 역사적 함의 = The Spatiotemporal Background and Historical Implications of the Creation of Hwayang Gugok

다국어 초록 (Multilingual Abstract)

Based on the results of previous research on the ‘Gugok culture,’ which was transplanted from China and blossomed on the Korean Peninsula, this study examines how Zhu Xi’s ‘Gugok’ was received and interpreted in Joseon and what cultural phenomenon it created in the process of its subsequent transformation from a historical perspective. In particular, this study aims to examine how the Joseon elite’s appropriation of ‘Gugok culture’ took shape and developed in the 17th century, when the change of zeitgeist due to the destruction of the Ming Dynasty by the Qing Dynasty was prominent, and to diagnose its historical implications and present-day significance.
Zhu Xi’s “Muidao Song,” and “Muigugokdo,” a depiction of the actual landscape of ‘Gugok,’ were transmitted to the Korean peninsula along with the acceptance of Confucianism in the late Goryeo Dynasty, and were actively enjoyed by the Joseon scholars as the development of Confucianism began in earnest in the 16th century. For them, ‘Gugok’ on Muyishan was perceived as the birthplace of Zhu Xi’s philosophy and the ideal place for Confucianism, so naturally there was a great deal of interest in literary and artistic works based on it, and attempts to incorporate ‘Gugok culture’ into the topography of Joseon began to appear. In particular, Seoin scholars of the Noron faction were active in their attempts to implement Zhu Xi’s ‘Gugok’ into Joseon, and the Gosan Gugok established by Yi Yi, as well as Song Si-yeol’s Hwayang Gugok and Kim Soo-jeung’s Gok-un Gugok, are still recognized today as representative examples of the ‘Gugok culture’ that developed on the Korean peninsula.
Among them, Hwayang Gugok is a space that was painstakingly cultivated by Noron figures who tried to establish the tradition of Confucianism handed down from Zhu Xi to Song Si-yeol with the intention of recreating the origin of Zhu Xi’s philosophy in Joseon, and it became the center of Noron’s public discussion throughout the late Joseon Dynasty. Hwayangdong, originally named as a scenic spot in the central part of the Korean Peninsula, has become a place where the ‘Gugok culture’ of Joseon, which originated by Zhu Xi, was completed with Confucianist traditions and partisan adoration.
Hwayang gugok was itself a constructed sanctuary that symbolized the cultural hegemony of the late Joseon Dynasty. The cultural markers visualized and internalized in the valley by Song Si-yeol himself or his disciples were inherited and disseminated through the direct and indirect experiences of travel and literature. By selecting, interpreting, and incorporating the symbols contained in Zhu Xi’s “Muidao Song” into their works, they sought to culturally legitimize the power of their school, and by adding the symbol of the ‘Cardinal Principle of Revering the Zhou Dynasty’ to it, they sought to lead and monopolize the cause of the times. This was because these actions were in line with the current thinking of the time, and thus served to strengthen the academic and cultural authority that underpinned the political authority of their school.

참고문헌 (Reference)

• 1 이효숙, "화양구곡 시문에 나타난 九曲의 場所性 考察" 동아시아고대학회 (32) : 151-187, 2013
• 2 이종호, "한국 구곡문화 연구의 현황과 과제" 안동대학교 안동문화연구소 10 : 2011
• 3 홍성구, "청질서의 성립과 조청관계의 안정화: 1644∼1700" 동양사학회 (140) : 155-194, 2017
• 4 정옥자, "조선후기 조선중화사상연구" 일지사 1998
• 5 이욱, "조선후기 전쟁의 기억과 대보단(大報壇) 제향" 한국종교학회 (42) : 127-163, 2006
• 6 이상균, "조선시대 유람전통에서 별업의 명소화 과정 -강릉 해운정을 중심으로" 한국국학진흥원 (45) : 81-113, 2021
• 7 윤진영, "조선시대 구곡도의 수용과 전개" 한국미술사학회 217 : 1998
• 8 이상균, "조선시대 士大夫의 山水遊觀과 九曲遊覽" 영남문화연구원 (27) : 369-400, 2015
• 9 이정일, "조선 후기 기자인식에 나타난 유교 문명과 보편성" 고려사학회 (37) : 203-232, 2009
• 10 조규희, "조선 유학의 ‘道統’의식과 九曲圖" 부산경남사학회 (61) : 1-24, 2006
• 11 최진덕, "유교의 예치 이념과 조선" 청계출판사 2007
• 12 임부연, "유교 의례화의 정치학: 만동묘와 대보단을 중심으로" 한국종교문화연구소 15 (15): 159-182, 2009
• 13 카이윙 초우, "예교주의" 모노그래프 2013
• 14 후마 스스무, "연행사와 통신사" 신서원 2008
• 15 김성희, "숙종 연간 조･청 관계의 맥락과 대보단의 시대적 기반" 한국학중앙연구원 44 (44): 45-78, 2021
• 16 벤자민 엘먼, "성리학에서 고증학으로" 예문서원 2000
• 17 노재현, "구곡원림의 원류, 중국 무이구곡(武夷九曲)의 텍스트성 - 국내 전승(傳承) 과정을 중심으로 -" 한국조경학회 36 (36): 66-80, 2009
• 18 김문기, "경북의 구곡문화" 경상북도 경북대학교 퇴계연구소 2012
• 19 최영현, "韓國九曲園林의 分布와 設曲特性에 關한 硏究" 우석대학교 2020
• 20 "重峯先生文集"
• 21 유준영, "造形藝術과 性理學的측면에서 본 華陰洞精舍" 한국정신문화연구원 19 : 1983
• 22 윤진영, "退溪李滉: 전시특강논문집" 예술의전당 2001
• 23 余英時, "論戴震與華學誡" 三聯書店 2000
• 24 전용우, "華陽書院과 萬東廟에 대한 一硏究" 호서사학회 18 : 1990
• 25 "荷谷先生朝天記"
• 26 허태용, "英.正朝代 中華繼承意識의 강화와 宋.明 역사서의 편찬" 조선시대사학회 (42) : 237-269, 2007
• 27 김문기, "淸米, 癘疫, 大報壇: 강희제의 海運賑濟와 조선의 반응" 호남사학회 (53) : 105-152, 2014
• 28 "梅山集"
• 29 김문기, "朴龜元의 姑射九曲 園林과 姑射九曲詩" 퇴계연구소 (52) : 1-32, 2013
• 30 김성희, "朝鮮肅宗의 君臣義理定立과 尊周大義" 동국대학교 2020
• 31 "朝鮮王朝實錄"
• 32 우경섭, "朝鮮中華主義에 대한 학설사적 검토" 한국사연구회 (159) : 237-263, 2012
• 33 전병철, "明代 楊亘의 <<武夷志>>가 조선에 끼친 영향" 근역한문학회 42 : 265-288, 2015
• 34 李敏弘, "士林派의 武夷櫂歌受容에 대하여-道敎的傳說과 載道的附會-" 陶南學會 7 (7): 1985
• 35 李敏弘, "士林派文學의 硏究" 형설출판사 1987
• 36 金文基, "九曲歌系詩歌의 系譜와 展開樣相" 경북대학교 사범대학 국어교육연구회 23 : 1991
• 37 김성희, "‘조헌상(趙憲像)’의 변화를 통해 본 조선후기 시대정신의 추이" 한국역사연구회 (93) : 297-331, 2014
• 38 Michael North, "The Dialect of Modernism : Race, Language, and Twentieth-century Literature" Oxford University Press 1994
• 39 허태용, "17세기 말∼18세기 초 中華繼承意識의 형성과 正統論의 강화" 진단학회 (103) : 59-85, 2007
• 40 충북대학교 우암연구소, "(역주)화양동지" 충북대학교출판부 2009