韓國 禪詩의 美的 距離 硏究 = A study of Aesthetic Distance in the Korean Zen Poetry
저자
김현자 (이화여자대학교 국어국문학전공)
발행기관
학술지명
권호사항
발행연도
1992
작성언어
Korean
KDC
051
자료형태
학술저널
수록면
59-87(29쪽)
제공처
소장기관
The Zen poetry, written by the Korean priests of virtues, expressed the aspects of human existence in the reanscendental dimension, and its characteristics and the spirit have succeeded to the modern poetry as an important vein. The world of Zen, emphasizing the spiritual communication without language, is ultimately connected with the essence of the lyric poetry are the produces of the same consciousness in that they try to find the true entity if existence beyond the world of ordinary languages.
In the respect, this thesis examines the characteristics of the Korean Zen poetry though analyzing the aesthetic distance, which enables the inner experience of the artistic works. The concept of aesthetic distance offers the useful way to abstract the poets aesthetic attitude toward the objects and the intention of the poets consciousness responding to the world of experience. Concretely, it is related to the problem of illucidating the characteristics of sensuous image-the sense of sight, hearing, touch, smell, and taste, examing how the poetic subject controls the distance toward the objects in order to maximize the aesthetic effects and how it is related to the poets view of value and intention.
The result of the analysis revealed that the abstract concepts pursued by the Zen priests were expressed through the sense, the space, and the things. This means that the philosophical and meditative world of Zen was shaped by the concrete circumstance and images. The longing for the high spirit, unity with nature, existential self-reflection and etc. which were the main themes of the Zen poetry, were closely related with the control of aesthetic distance.
Since the Zen poetry pursues the mental ideal, it emphasizes moderation and strict compression. Unlike the ordinary world, in the Zen Poetry, loneliness, material lack, and physical suffering which must be endured by the Zen priests through moderation of sense are highly valued. Discord between the oppositional worlds of the sacred space and the seculiar one, the body and the soul, the agony and the transcendence is expressed by the coldness of the factual sense. Loneliness of priests who leave the seculiar and seek for truth is represented through coldness of rage and light autumn color. But this coldness evokes loneliness and awakes to the priests the road of the ascetic, too. In the sense of taste, the system of image is like the one in the tactual sense. The tasteless temple foods (herb, wild greens, acorn, etc._ make distance from the sense of taste through the moderation on foods. This shows that the priests are not pursuing the physical desire but the pure mental world.
In the Zen poetry, the objects are represented at a long distance to imply the understanding of the small human begins in the boundless universe. The pure and clear sound of block wood and the chanting of sutra also aim at awakening the spirit of human beings. This sound is ultimately inclined toward silence for religious meditation. The composition at the long distance and the low sound tended to ward silence are the ways that the priests achieve the pure mental state of rapture. The depth and the rise of the existence are represented by the incense which relates heaven to earth and the fragrance of flowers which suck up the energy under the earth. The fragrances of flowers and incense in the lonely temple are sensuous images of the transcendental spirit which comes and goes between life and death. Like these, the senses in the Zen poetry represent the peculiar poetic mind of the Zen poetry through the diverse control of distance-that is, coldness, sighting at a long distance, condensation to the inside like silence, and spreading of fragrance.
The spaces in the Zen poetry are usually those of height opened toward nature like a pavilion, a tower, or a rail. These spaces make human beings into terminable existances who are breathing the universal spaces to realize the meaning of existence. The mountain and the sky also embody the desire toward height, and represent the existential wish to depart from the seculiar desire and to reach the world of truth. The Zen priests try to leave the seculiar and utilitarian objects and to reach the state of freedom following the true characteristics of nature. Therefore, the air image like clouds, smoke, and fog, are the very natural equivalent of the abstract concept. The clouds, which freely appear and disappear, represent the lightness and freedom of mind not attached to the seculiar value. The smoke has the meaning of being the sigh to inform the traveler, who seeks for truth, the sacred atmosphere of the temple. And also the fog, which hides the appearance of things, is paradoxically a light which exposes the truth behind the invisible world, representing the complication mental state of human beings of uncertain life, confusion, and many kinds of obstacles to overcome.
The emptiness and vainness of life are represented as a dream, shadow, sleep, and etc. The thought that our life is but a dream and an illusion implies the transiency of life, and this realization leads us to the stage of the pure and lofty mind unselfishness and nothingness. In spite of idealness of the thought and recognition of Zen, the way of seeking for truth by priests comes true through the contact with the concrete objects and the spaces. The Zen poetry, representing the world where truth is sought through many kinds of senses and space images, is an equivalent of Zen concept.
In general, the Zen poetry has a trait of the lyric poetry in that it emphasizes the self-investigation, the speakers mood, and the atmosphere rather than the role of literature toward the society. This characteristic and the tradition of the Zen poetry are related to the modern poetry. Han Yong Woon, who, through the symbol and paradox, overcomes the conflicts of the opposite world: Seo Jung Joo, who shows the peculiar world of humor and a far-sighed view; Jo Ji Hoon, whose poetry is based on the oriental mystic spirit; and of Park Mok Wol, whose early poetry expresses the images of Zen with wonderful sensibility, all of these poets have succeeded the spirit and the way of our traditional poetry to the present. Especially, the spiritual world of Zen has been recently revived in the poetry of Hwang Dong Kyu, Hwang Ji Woo, Jo Jung Kwon and others. As one way to stand against the urban mechanical life. It seems that this aspect of reception plays an important link in maintaining the poetic connection in the history of Korean poetry.
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