草衣 張意恂 서화의 茶三昧的 審美指向 (Aesthetic Orientation of Tea Samadhi in Choui Jang Uisun’s Calligraphy and Paintings)

서지정보

· 발행기관 : 동아시아불교문화학회
· 수록지 정보 : 동아시아불교문화 / 33호 / 437 ~ 467페이지
· 저자명 : 이필숙

초록

조선조 후기 佛家의 사상적 경향은 參禪看經과 念佛을 복합 수행하는 三門修練의 일반화 추세였다. 禪論 역시 禪敎回通의 표명과 동시에 捨敎入禪的인 임제 선풍을 제시한 西山의 영향이 지배적이었다. 그러나 白坡가 「禪文手鏡」을 통해 臨濟三句에 의거한 삼종선 체계와 話頭一念을 제시하자, 草衣는 이의 해석은 바르지 못한 것으로 禪은 결코 체계화될 수 없다는 禪敎兼修論으로 맞섰다. 이는 止觀法의 실천이었고, 草衣가 서화미학을 구현하는 시ㆍ서ㆍ화ㆍ선 일치 사상과 궤를 같이 한다. 草衣의 禪思想과 서화미학의 기저는 조선을 대표하는 두 지식인 茶山의 師承效果와 秋史와의 知音關係, 申緯 등 북학파 경화사족들과의 교유에서 비롯된다. 草衣 서화의 초월적 심미감흥 활동에는 茶三昧의 禪思想과 茶禪一道의 飮茶生活이 개입된다. 차를 달이는 것이 三昧의 경지라는 草衣의 표현은 실로 그 다운 發想이며, 物我一體를 이루는 최고의 경지이다. 그러므로 草衣는 茶三昧를 통해 선수행의 이상적인 경지에 도달했다고 할 수 있다. 草衣는 매사가 禪이고 道이기 때문에 서화 역시 道를 표현하는 수단이 아니라, 서화 자체가 道라는 당시로서는 상당히 진보된 예술관을 지니고 있다. 이러한 인식은 『一枝庵詩稿』와 『東茶 頌』 등 차 관련 저술활동과 <茶禪> 등의 서화활동으로 이어진다. 草衣의 투철한 茶三昧的 서화활동은 주변으로부터 호평을 받기에 이른다. 李喜豊은 草衣가 전서와 예서의 법칙을 터득했다고 했고, 秋史는 나날이 일취월장하는 그의 필법의 경지에 대해 찬사를 아끼지 않았다. 梵海는 草衣의 梵書가 당시 모든 서예가들 사이에서 정평이 나 있었다고 적었고, 申櫶은 草衣가 초상화를 잘 그려 吳道子의 경지에 들었다고 높이 평가하였다. 따라서 草衣의 서화는 話頭一念의 不立文字라기보다는 禪敎一體의 文字般若라 하겠다. 그 信心의 입장에서 바라보면, 文字般若라기보다는 實相[지혜]般若를 체득하라는 신심의 표현이다. 草衣의 茶三昧를 통한 서화의 초월적 審美指向은 이질적인 이념을 쫒던 儒·佛 간 두 지식인 집단을 하나로 묶어 소통시키는 역할하기에 충분했다.

영어초록

The philosophical tendency of Buddhism in late Joseon dynasty was to practice three training of reading the sutras, Zen meditation and Buddhist prayer. Zen theory was affected by Seosan who indicated an integration of Zen and Buddha’s teaching and suggested Imje’s Zen manners of entering Zen abandoning Buddha’s teaching. Baekpa presented a system of three kinds of Zen and a concentration on dharma topic based on Imje’s three phrases through 「Seonmunsugyeong」. However, Choui thought that the interpretation was wrong and Zen could never be systematized, so he claimed a theory of practicing both Zen and Buddha’s teaching. It was a practice of calming and contemplation, and it was also connected to his thought of accordance of poetry, calligraphy, paintings and Zen. The foundation of Choui’s Zen thought and calligraphic aesthetics was derived from the fact that he sat at Dasan’s feet, had a friendship with Chusa, and associated with school of northern studies who lived near Seoul. Choui’s transcendental aesthetic activities of calligraphy and paintings were related to his Zen thought of tea samadhi and life of drinking tea that one Way embraced both tea and Zen. It was like Choui to think that brewing tea was a stage of samadhi, and it was the highest stage of making external objects and self as one. Therefore, it could be said that Choui reached an ideal stage of Zen practice through tea samadhi. Since Choui thought that everything was Zen and Way, he had a progressive thought of art that calligraphy and paintings were not means to express Way but they were Way themselves. It led to his activities of not only writing books about tea like 『Iljiamsigo (一枝庵詩稿)』 and 『Dongdasong(東茶頌)』 but also calligraphy and paintings such as <茶禪>. Choui’s activities of calligraphy and paintings based on tea samadhi had ___________________ * Sungkyunkwan University vísiting proféssor -started to be well received. Lee Heepung said Choui attained the law of seal script and clerical script, and Chusa complimented him on his making progress day after day in calligraphy. Beomhae noted that Choui had a reputation for his Buddhist scriptures among calligraphers, and Sinheon highly appreciated that his portrait was as good as Wudaozi. Therefore, Choui’s calligraphy and paintings were not an intuitive discernment of Buddhahood of concentration on dharma topic but a prajna of characters of making Zen and Buddha’s teaching as one. From the point of view of faith, it was not a prajna of characters but an expression of faith of learning true prajna by experience. Choui’s tea samadhi and his transcendental aesthetic orientation of calligraphy and paintings played a role to band two intellectual groups of Confucianism and Buddhism that pursed different ideologies and let them communicate.

참고자료

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