전통 의상론(意象論)과 영미 이미지즘의 생태 미학적 함의 비교 연구 (A Comparative Study on the Ecological Aesthetic Implications of East-Asian Traditional 'Yixiang(意象)')

서지정보

· 발행기관 : 한국철학사연구회
· 수록지 정보 : 한국철학논집 / 82호 / 207 ~ 234페이지
· 저자명 : 김현미

초록

본 논문은 전통 ‘의상론’과 영미 이미지즘에 깃든 생태 미학적 함의를 비교 연구한 결과이다. 전통 ‘의상론’과 영미 이미지즘은 모두 근대 유럽의 ‘강한 인간중심주의’가 불러 온 문제를 극복할 만한 대안으로 가치가 있으나, 우주와 인간의 관계를 보는 관점이 다르므로 인류 정신문화에 기여하는 방식에서도 차이를 보인다.
영미 이미지즘 시인들에게 우주는 ‘유기체’를 의미했고, 전체와 부분은 결코 같은 수준에서 논할 수 없는 것이었다. 영미 시인들의 유기체적 시는 ‘강한 인간중심주의’에 대한 반성적 사유를 불러오고, ‘생태주의’의 확산을 돕는다는 점에서 가치가 있으나 인류 주체의 능동적 의지를 북돋기에는 아쉬움이 있다.
현대의 ‘시가의상론’은 영미 이미지즘과의 교류 이후로 고대 한시에 대한 구조적 해석을 더하여 전통 ‘의상론’과는 구분되는 현대 이론으로 발전하였다. 더욱이 고대 한시에는 고대로부터 지속적으로 읊어져 온 사물들이 존재하였고, 한시 속에 담긴 구조적 체계는 이미 천년의 세월을 통하여 수많은 시들을 거쳐 왔기에 어떤 특정 시인 혹은 특정 시대에 얽매이지 않는 독립적 생명을 갖추고 있었다.
현대 ‘시가의상론’에서는 바로 이 사물들을 ‘의상’이라고 하였고, 시 창작을 마치 ‘의상’을 재료로 하나의 구조물을 설계하는 것처럼 생각했다. 그러나 고대 동아시아에서는 이를 ‘흥’(興)이라는 문학 비평 용어로 논해왔다. 그리고 ‘의상’(意象)에는 그와 구분되는 본래의 의미가 있었다.
영미 이미지즘 시인들은 시 속의 사물들이 이루는 구조적 체계를 통하여 현실 세계와 분리된 탈(脫)을 시도했다. 그들은 당시 유럽 사회에 일어난 새로운 감수성, 엄격하고 기하학적인 예술, 자연 세계와는 구분되는 추상화 경향이 동양적 요소의 유입과 산업화로 인하여 기계적 요소에 둘러싸인 데서 기인한다고 보았다.
그러나 고대 동아시아 문인들은 결코 자연과의 분리를 추구하지 않았다. 고대 문인들이 시를 통하여 읊었던 초월은 은일(隱逸), 나아가 표일(飄逸)을 지향하였고, 그들은 대자연과 짝을 이룸으로써 진정으로 자유로운 인생 경계를 만끽할 줄 아는 한 사람의 ‘성품’을 그 바탕으로 논하였다. 이러한 사유는 문인 예술에서 ‘기상’(氣象)을 중시하는 풍토로 드러났다.
고대 동아시아의 시와 예술은 창작된 작품을 논하면서도 ‘활물’(活物)이어야 함을 강조하였고, 생동하는 ‘운율’(韻律)을 느끼고자 했다. 이는 영미 이미지즘 시인들이 논하는 평면적, 기하학적, 탈현실적 감수성과는 상반되는 것으로, 현실 속에서 자기 몸의 ‘혈기’(血氣)를 통하여 이루는 예술이다.

영어초록

This paper is the result of a comparative study of the ecological and aesthetic implications of the traditional 'Yixiang theory' and the English-American imageist art philosophy. The traditional 'Yixiang theory' and the English-American imageist art philosophy have contradictory perspectives from the relationship between the universe and humans. Both theories are worth discussing as alternatives to overcome the problems caused by the strong anthropocentrism of modern Europe, but the perspective of the English-American imageist art philosophy is 'fundamental ecologicalism', which has limitations in discussing civic consciousness and the will to improve.
For English-American imaging poets, the universe meant 'organic', that is, 'mechanical integration', and the whole and part of 'organic', a mechanical integration, could never be discussed on the same level. From the perspective of such 'fundamental ecologicalism', everything, including humans, was only one part of the whole. The 'organic' they discussed was a complete mechanical universe structured through the complex relationship of parts, in which humans were nothing special compared to other objects. Their thinking could be an alternative to 'anthropocentrism', but it was limited in exerting 'power' for the maturity of human culture.
After the exchange with English-American imageist, Present 'Yixiang theory' has developed into a modern theory that is distinct from the traditional 'Yixiang theory' by adding a structural interpretation of poetry. Moreover, in ancient East-Asian poetry, there existed objects that have been continuously recited since ancient times, and they formed a structural system together with surrounding objects over time.
As such, the structural system contained in the poem had already passed through countless poems over the millennium, so it had an independent life that was not bound by any particular poet or any particular era. In the Present 'Yixiang theory', these very objects were called 'Yixiang', and poetry creation was understood as a structural design. However, the response caused by these objects in ancient East Asia was discussed in terms of literary criticism called 'Xing'(興), and 'Yixiang'(意象) had its original meaning that was distinguished from it.
English-American imagery poets attempted to 'Post'(脫) from the real world through the structural system of objects in poetry. They considered that the new sensitivity, rigorous and geometric art, and the tendency to abstraction to be distinct from the natural world that occurred in European society at the time were caused by being surrounded by mechanical elements due to the influx of oriental elements and industrialization. T.E.Hulme described Byzantine culture and Indian philosophy as oriental elements, and this paper focused on Indian philosophy. In T.E.Hulme's view, there was still a sense of separation from external nature in India, which is discussed as concepts such as reincarnation, karma, and liberation.
'Post'(脫) pursued by ancient East Asian writers never meant separation from nature, but a life that left the world and flowed as one with nature. In addition, the transcendence that ancient writers recited through poetry was aimed at 'Seclusion'(隱逸) and furthermore, 'Buoyant'(飄逸), and they discussed based on the 'Personality'(性品) who knows how to enjoy a truly free life boundary by achieving full harmony with the flow of Mother Nature.
In East Asian society, poetry and art could not be discussed without discussing 'Personality'(性品), and since 'Personality'(性品) was necessarily based on the person's 'body', it was not possible to discuss the artistic level even with the 'Mind' separated from the material world. This thought turned out to be a climate that values 'Qixiang' (氣象) in literary art.
Literary works described the highest boundary between poetry and art creation as 'Buoyant'(飄逸). 'Buoyant'(飄逸) refers to the state of 'joy' in which one can enjoy a complete harmony flowing with Universe. For this reason, while discussing the works created, he emphasized that poetry and art in ancient East Asia should be 'active material'(活物), and wanted to feel the lively 'rhythm'(韻律). This is contrary to the flat, geometric, and non-realistic sensitivity that English-American imagism poets discuss, and is an art made up of one's own vitality energy(血氣) in reality.
In the traditional 'Yixiang theory', humans are microcosms that embrace Universe's reasoning. Humans are reborn as beings who respond to all things in the universe beyond humanity through their own 'body'. In this view of the universe, humans are the subject who participates in the constant creation and change of Universe and are ecological beings who realize their lives along with Universe. For this reason, it is worth referencing in the establishment of the modern theory of ecological aesthetics as an alternative to overcoming the limitations of anthropocentrism and non-human fundamental ecologicalism.
In English-American imageism and Present Yixiang theory formed after modern times, 'abstract' is a theory that can help understand the human mind that is actually independent from the temperament of the 'body'. On the other hand, the traditional 'Yixiang theory' is a theory that can help provide the life of one's 'body', the character achieved through repetition of good actions, and the aesthetic experience as a subject of life realization with Universe.
The fact that our Earth or space is beautiful, and that it has any value, is only possible after human perception. The value of beauty comes from within humans, not from the outside world. In this paper, I hope that this paper will contribute a little to promoting the ecological and aesthetic value contained in East Asian philosophy and traditional 'Yixiang theory.' and that various discourses reflecting on the sustainable future of humanity and human values will be further encouraged in the future.

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