「낙신부(洛神賦)」에 대한 <낙신부도(洛神賦圖)＞의 화답 ― 조식(曹植)과 고개지(顧愷之)가 펼친 탈속의 연극 ― (A Response to The Ode to the Goddess of the Luo River (洛神賦) in The Nymph of the Luo River (洛神賦圖): A Play of Divinity by Cao Zhi and Gu Kaizhi)

서지정보

· 발행기관 : 한국철학사연구회
· 수록지 정보 : 한국철학논집 / 84호 / 351 ~ 393페이지
· 저자명 : 이진명

초록

본 논문은 조식(曹植, 192-232)의 「낙신부(洛神賦)」에 대한 고개지(顧愷之, c. 346-408) 회화 ＜낙신부도(洛神賦圖)＞의 반응을 분석한다. 우리나라에 ＜낙신부도＞의 내용에 관한 논문은 아직 없다. 필자는 고개지가 「낙신부」를 철저히 정통한 연후에 ＜낙신부도＞를 그렸으며, 문학을 회화 예술로 변용한 고개지의 해석력은 당나라 최고 학자이자 『문선(文選)』의 주소자(注疏者) 이선(李善, 630-689)이나 고대 중국 문학사의 거장 고젠 히로시(興膳宏, 1936-2023)의 그것에 못지않거나 오히려 능가한다는 사실을 보여주고자 한다.
문학에서의 서사가 그림에서 어떻게 대응하는지 철저히 분석하는 데 이 논문의 제1차적 목표가 있다. 그런데 연구를 진행할수록 놀라운 사실과 마주하게 된다. 「낙신부」와 ＜낙신부도＞는 모두 『초사(楚辭)』의 세계관에서 영향받았다는 사실이 그것이다. 조식은 「낙신부」에서 「이소(離騷)」⋅「미인부(美人賦)」⋅「구가(九歌)」 등 전거(典據)를 성실히 사용했는데, 이는 원용을 통하여 허실묘합(虛實妙合)의 구조와 경지를 극화하기 위한 조식의 절묘한 선택이었다.
필자는 「낙신부」와 ＜낙신부도＞가 『초사』 문화의 후예라고 생각한다. 나아가 『초사』가 왕당파가 만든 강건한 북방의 『시경(詩經)』 문화와 달리, 『노자(老子)』와 더불어 소수파가 만든 환상적이며 초월적인 중국 남방 세계관의 원형이라는 왕국유(王國維, 1877-1927)의 판단에 동의한다. 상상력[虛]과 실제[實]의 조화로운 결합[虛實妙合]과 유무상생(有無相生)과 같은 『노자』의 가르침, 그리고 천계를 주유(周遊)하는 초월성을 보여주면서도 구체적 현실정치를 우려하는 『초사』의 우환의식(憂患意識)은 「낙신부」와 ＜낙신부도＞에도 면면히 이어져 흐르는 예술적 생명수(生命水)이다.

영어초록

This paper analyzes the response of Gu Kaizhi’s (c. 346-408) The Nymph of the Luo River(洛神賦圖) to Cao Zhi’s (192-232) The Ode to the Goddess of the Luo River(洛神賦). There has been no study on the content of The Nymph of the Luo River painting in Korea. I hope to show that Gu Kaizhi painted The Nymph of the Luo River after he was thoroughly familiar with The Ode to the Goddess of the Luo River and that Gu Kaizhi’s interpretive ability in transforming literature into pictorial art is as good as or better than that of the greatest Tang Dynasty scholar and exegete of Wen Xuan (文選), who is Li Shan (630-689) or the master of modern Chinese literary history scholar Gozen Hiroshi(興膳宏, 1936-2023).
I will divide the play into five acts. The first act is the prelude and all about the ode, i.e., the creative background and stage setting. The second act depicts the goddess’s appearance and demeanor. The third act depicts the courtship of the protagonist Cao Zhi and the goddess’s response. The fourth act depicts the psychology of the goddess who has to leave, and the appearance of the gods to change the scene. The fifth act concludes the epic with a psychological depiction of parting and regret. However, Gu Kaizhi’s painting also has exactly five acts. The primary goal of this thesis is to thoroughly analyze how the narrative in literature corresponds to the painting. However, as I proceeded with my research, I came across a surprising fact. The more I researched, the more I realized that both The Ode to the Goddess of the Luo River and The Nymph of the Luo River were influenced by the Songs of Chu (楚辭)’s worldview. In the latter, Cao Zhi sincerely uses tropes such as On Encountering Sorrow (離騷), Ode to Beauty Woman (美人賦), and Nine Songs (九歌) to dramatize the structure and state of illusion and reality.
I believe that The Ode to the Goddess of the Luo River and The Nymph of the Luo River are descendants of the Songs of Chu’s culture. I further agree with Wang Guowei’s (1877-1927) judgment that The Songs of Chu is the prototype of the fantastic and transcendent worldview of southern China, which was created by the minority faction along with , in contrast to The Book of Songs’ (詩經) culture of the sturdy north created by the Royalist faction. Teachings in the Laozi such as the harmonious combination of imagination and reality, and the co-existence of being and non-being, and the The Songs of Chu’s worldview, which is concerned with concrete realpolitik while circling the heavens, are the lifeblood that continues to flow in the The Ode to the Goddess of the Luo River and The Nymph of the Luo River.

참고자료

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