洪敬謨의 「山居十供記」와 19세기 淸供의 문화적 함의 (Hong Gyeong-mo’s SanGeoShipGongGi (山居十供記) and the Cultural Implications of CheongGong (淸供) in the Nineteenth Century)

서지정보

· 발행기관 : 서울대학교 규장각한국학연구원
· 수록지 정보 : 한국문화 / 61호 / 221 ~ 247페이지
· 저자명 : 손정희

초록

The purpose of this paper is to analyze the cultural implications of CheongGong (淸供, pure offerings) in the nineteenth century focusing on the SanGeoShipGongGi by Hong Gyeong-mo (洪敬謨, 1774~1851). Born in GyoungHwaSeJok (京華世族, a noble family of Seoul), Hong Gyeong-mo was describing elegant lifestyle with ten types of CheongGong in his cottage of Uidong indicating the literati's lifestyle and leading motives of an aesthetic taste in those days. In a sense, it is called CheongGong life.
CheongGong came from a name for the offerings in all the traditional rituals and memorial services, and the notion was originated from a religious ritual offerings including Buddhism. CheongGong had expanded its notion the same as CheongWan (淸玩, pure appreciation) representing entire pattern of the literati’s WanSang (玩賞, appreciation) in the late Ming period, which affected to change the lifestyle of Joseon literati as well.
CheongGong discussed in this paper is symbolized as an important keyword which explicates the formation and development of new aesthetic consciousness crossing over the border of WanMulSangJi (玩物喪志, Once one begins to be indulged in things, he may lose his mind) and opening a new door to the culture of WanMul (玩物, appreciation of objects) in Joseon’s Neo-Confucian perspectives. It means that the CheongGong life has been symbolized as CheongSa (淸事, pure activity) implying the spiritual cultivation for pure mind of the literati. In the notion of CheongGong by Hong Gyeong-mo, the serenity in mind enjoying the life of CheongWan is also interpreted as the state of purity reflecting one’s aesthetic consciousness, and all the appreciation objects belong to a method of Self-discipline. Hong Gyeong-mo’s view on CheongGong is interpreted that it keeps a clear ideological distance and distinction from WanMul and its vulgarity, which signifies CheongWan life as a non-vulgarity placing a special value on purity as well as implies free of vulgarity. Hong Gyeong-mo’s case well describing the ideological aura surrounding CheongGong could be seen as a concrete evidence explaining ideological mechanism that enabled the hierarchical taste of the literati in Joseon who enjoyed the indulgence in WanMul through a series of ideology process under purity. However, the hierarchical taste that the literati class aimed ultimately had spread to the vulgarized and popularized culture, which implies the ambivalent characteristics of culture in the sense of vulgarity out of non-vulgarity.

영어초록

The purpose of this paper is to analyze the cultural implications of CheongGong (淸供, pure offerings) in the nineteenth century focusing on the SanGeoShipGongGi by Hong Gyeong-mo (洪敬謨, 1774~1851). Born in GyoungHwaSeJok (京華世族, a noble family of Seoul), Hong Gyeong-mo was describing elegant lifestyle with ten types of CheongGong in his cottage of Uidong indicating the literati's lifestyle and leading motives of an aesthetic taste in those days. In a sense, it is called CheongGong life.
CheongGong came from a name for the offerings in all the traditional rituals and memorial services, and the notion was originated from a religious ritual offerings including Buddhism. CheongGong had expanded its notion the same as CheongWan (淸玩, pure appreciation) representing entire pattern of the literati’s WanSang (玩賞, appreciation) in the late Ming period, which affected to change the lifestyle of Joseon literati as well.
CheongGong discussed in this paper is symbolized as an important keyword which explicates the formation and development of new aesthetic consciousness crossing over the border of WanMulSangJi (玩物喪志, Once one begins to be indulged in things, he may lose his mind) and opening a new door to the culture of WanMul (玩物, appreciation of objects) in Joseon’s Neo-Confucian perspectives. It means that the CheongGong life has been symbolized as CheongSa (淸事, pure activity) implying the spiritual cultivation for pure mind of the literati. In the notion of CheongGong by Hong Gyeong-mo, the serenity in mind enjoying the life of CheongWan is also interpreted as the state of purity reflecting one’s aesthetic consciousness, and all the appreciation objects belong to a method of Self-discipline. Hong Gyeong-mo’s view on CheongGong is interpreted that it keeps a clear ideological distance and distinction from WanMul and its vulgarity, which signifies CheongWan life as a non-vulgarity placing a special value on purity as well as implies free of vulgarity. Hong Gyeong-mo’s case well describing the ideological aura surrounding CheongGong could be seen as a concrete evidence explaining ideological mechanism that enabled the hierarchical taste of the literati in Joseon who enjoyed the indulgence in WanMul through a series of ideology process under purity. However, the hierarchical taste that the literati class aimed ultimately had spread to the vulgarized and popularized culture, which implies the ambivalent characteristics of culture in the sense of vulgarity out of non-vulgarity.

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