| 조희룡 문학의 詩情과 畫意, 그리고 유희정신 |
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신익철 |
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한국학중앙연구원 |
| Poetic sentiment, painting’s intention and amusement esprit of Cho Hŭiryong’s literature |
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Ik-Cheol Shin |
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The Academy of Korean Studies |
Correspondence:
Ik-Cheol Shin,
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Received: 18 February 2020 • Revised: 1 April 2020 • Accepted: 21 April 2020 |
| Abstract |
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This article is intended to examine the characteristics of Cho Hŭiryong’s poetry and prose in close relationship with his view of art. <又一東閤記(Wo-il-Dong-Hap-gi)> is noted as an article expression that Cho's own identity is in paintings and calligraphy arts. The characteristic of the poem Cho Hŭiryong, who has an art view of the monolithic theory of poetry and calligraphy, can be found in the combination of poetic sentiment and painting’s intention. Cho Hŭiryong’s poetry obtains personality from the point of close combination of the poetric sentiment and painting’s intention which sharply portrays the scenery of the season with observation as an artist.
Cho Hŭiryong emphasized the amusement esprit in art, and his interest in Taoist thought and Buddhism also has a certain relationship. His amusement esprit was influenced by 蘇軾 (Su Shi), but he progressed for maximizing amusement esprit in accordance with his artistic passion, emphasizing the spirit and the handicraft. The prominent feature of Cho Hŭiryong’s prose is the writing style in which this amusement esprit is expressed. It is understood as the expression of an independent art view based on his identity as middle-class artist, against the ideological beauty of the gentry literature. |
| Key Words:
Cho Hee-Ryong, Poetic Sentiment, Painting’s Intention, Amusement Esprit, Su Shi |
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