朴珪壽의 實事求是的 書畵思想 硏究 (A Study on the Philosophy of Calligraphy and Painting by Park Kyu-Soo)

서지정보

· 발행기관 : 한국서예학회
· 수록지 정보 : 서예학연구 / 34호 / 87 ~ 111페이지
· 저자명 : 이주형

초록

박규수(1807-1876)는 저명한 정치 사상가이자 문인, 서화가 고증학자로서 실사구시의 원론적 방법을 토대로 개화사상을 바탕으로 사회변화를 통찰하고, 서양의 문물이 동양에 빠르게 밀려들어는 西勢東漸의 시기에 이를 대처하기 위한 經世策의 모색에도 남다른 노력을 기울였다.
실사구시란 말이 실천 중에 진면을 점검하고 진리를 발전시켜 나가는 것을 견지하는 것이라고 파악하고, 실사구시적 학문을 청초의 고염무 사상인 ‘通经致用’정신으로 금석고증을 실천하면서 서화창작에 노력을 기울였다.
박규수는 조부 연암 박지원과 그의 부친 박종채에 의하여 실학사상을 비교적 충실하게 받아들일 수 있었다. 교유관계에 있던 외척의 이정리·유화·이정관을 비롯한 선배 정약용·윤정현, 친구 윤종의, 추사 등 문인들과 함께 교류하면서 경술과 문장을 익히고, 금석 고증에 있어서는 고염무에게서 영향을 받았다.
1840년대 전반까지 그의 서화관은 대체로 성리학을 바탕으로 고증학의 장점을 절충하여 엄격한 객관적 태도를 확립하여 순수한 학문적 차원에서 실학을 발전시켜나갔다.
서화는 금석문에 대한 관심과 실증에 바탕을 두되 영모라는 독특한 임모방법을 제시하여 형태를 임모하는 이상으로 사물의 본질적 이해를 위하여 실경에 중점을 두고 서화를 발전시켜 나갔다.
박규수는 당시 머릿속으로 상상하여 그려내는 관념 산수를 경계하면서 화원화가들이 사물의 진정성을 해치는 그림에 대하여 강하게 비판하고 사물의 진면목을 그려낼 것을 주장하였다. 이와 같이 박규수는 당시 조선 화단에서 일어나는 수묵 산수화 유행에 대한 비판과 논리로 민족의식과 함께 근대의식을 변화시키면서 계몽해 나갔다.
이로써 박규수는 고염무 및 추사 일파의 영향과 청나라 동씨집안 사람들 및 문인 학자들과의 교유를 통해 금석 고증에 대한 학문적 관심이 높아지게 되었고 당시 잊혀져가는 周禮를 재현하고 높이고자 했다. 그 뜻은 당시 유학이 관념적인 학풍으로 흘러 본질적인 유학의 이념을 실천하되, 금석고증과 법고창신, 實景畵의 서화정신으로 이를 설명하면서 19세기의 새로운 시대적 여건 속에서 ‘동도서기론의 맹아’로 평가할 수 있는 사상적 발전을 보여준 그 시대의 선각자였다.

영어초록

A Study on the Philosophy of Calligraphy and Painting by Park Kyu-Soo Lee Ju Hyung
Park Kyu-Su (1807-1876) was a prominent political thinker, literary and poet, painter and calligrapher, evidential researcher, and historical researcher of epigraphy. Based on the theoretical method of empirical tradition, he explored social change based on the idea of ​​rehabilitation, and in the period of eastward and westward (西勢東漸) when the Western culture flooding into the East, he made a special effort to find a Reformism strategy to cope with such changes.
He recognized that the term "empirical tradition" was to maintain the truth and to develop the truth while practicing, and, while practicing epigraphy historical research and the scholarship of empirical tradition based on the thought of ‘通经致用(pass through)’ to create calligraphy and painting.
Park Kyu-Su could accept the philosophy of Practical Thought (Sil-Hak) relatively faithfully from Yunam Park Ji-Won, his grandfather, and his father Park Jong-Chae. In addition to his acquaintances from his wife’s family side such as Lee Jung-Rhee, Yoowha, and Lee Jung-Gwan, he befriended with his senior Jung Yak-Yong, Yoon Jung-Hyun, his friend Yoon Jong-Eui, and Chusa to study sentences and scripture. In terms of epigraphy historical research, he was influenced by Gu Yanwu.
By the first half of the 1840s, his thoughts on calligraphy and painting were based on the principle of neo-Confucianism and compromised the merits of evidential research, establishing a rigid objective attitude and developing practical studies on a purely academic level to develop Sil-Hak.
Calligraphy and painting were based on the interest and demonstration of epigraphy, but he had developed calligraphy and painting with emphasis on realism for the essential understanding of objects beyond copy-training forms by suggesting a unique copy-training method called ‘young-mo(painting of birds and animals)’.
Park Kyu-Su insisted that painters should strongly criticize the paintings that harm the authenticity of objects and draw the truths of things while guarding against the ideological landscaping at that time, which was drawing while imagining. As such, Park Kyu-Su enlightened the public by changing modern consciousness with national consciousness with criticism and logic about the trend of ink landscape painting in the Chosun art scene.
Accordingly, Park Kyu-Su became interested academically in the epigraphy historical research through networking with the people of Dong family of Qing Dynasty, Chusa-group including Gu Yanwu, and the literary scholars. Also, he tried to reproduce the Confucian classic that had been slowly forgotten to raise its position. It meant that the Confucian scholarship flowed into an idealistic academic style at that time, practicing the essential idea of ​​Confucianism, but it was explained by the thoughts on calligraphy and painting of epigraphy historical research, 'review the old and learn the new', and ‘real landscape painting’. As such, he was the pioneer of the era who exhibited the ideological development that can be evaluated as 'the beginning of the eastern way-western means theory' in the new era’s environment of the 19th century.

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