艸衣 張意恂 서화세계의 煎茶三昧的 심미경계 (Brewing Tea Samadhi Aesthetic Appreciation Boundary of World of Choui Jang Uisun’s Calligraphy and Paintings)

서지정보

· 발행기관 : 동국대학교 동서사상연구소
· 수록지 정보 : 철학∙사상∙문화 / 26호 / 152 ~ 177페이지
· 저자명 : 이필숙

초록

草衣의 字는 中孚이다. 이를 증명하듯, 草衣의 二宗禪論은 시대정신을 반영하며 초지일관 禪과 敎를 같은 차원에서 논의했다. 그 요체는 止觀法의 실천이었고, 서화미학을 구현하는 시·서·화·선 일치 사상과 같은 의미이다. 草衣의 禪思想과 서화미학의 기저는 茶山의 師承效果와 秋史와의 知音關係, 申緯 등 북학파 경화사족들과의 교유관계에서 비롯된다. 茶山의 經世致用을 위한 실천행위의 교수법은 草衣에게 전수되어 「白雲帖」 등 합작품과 여러 서화작품을 창작하기에 이른다. 草衣와 秋史의 지음관계에 있어 가장 큰 매개체 중 하나는 茶였다. 草衣의 遺墨 중 <茶煙>이나 秋史의 <煎茶三昧>에서 볼 수 있듯이 차를 달이는 것이 三昧의 경지라는 표현은 物我一體를 이루는 최고의 경지이자, 초월적 심미이상이다. 草衣는 ‘매사가 禪이고 道이므로, 서화 또한 禪이고 道의 차원’이라는 당시로서는 상당히 진보된 서화관을 피력한다. 그 결과 草衣의 煎茶三昧的 시·서·화 창작은 佛家를 중심으로 儒家를 받아들인, 同歸殊塗의 不二禪 경지로 고스란히 체현된다. 더불어 산자수명한 대흥사의 자연환경은 草衣書畵의 정서적 미감과 어우러져 返本還原의 平淡美學으로 드러난다. 요컨대, 草衣書畵의 儒·禪 합일은 不二禪과 平淡美學의 심미경계로 승화되는 ‘한마음의 극치’였다.

영어초록

Choui’s another name was Jungbu. As evidenced by this, Choui’s theory of two kinds of Buddhist Zen reflected the spirit of the times, and he discussed Buddhist Zen and Buddha’s teaching on the same level. The main point was the practice of Vipassana, and it meant the same as the thought of accordance of poetry, calligraphy, paintings and Zen, which realized aesthetics of calligraphy and paintings. The foundation of Choui’s Zen thought and his calligraphic aesthetics were derived from the fact that he sat at Dasan’s feet, had a friendship with Chusa, and associated with the school of northern studies who lived near Seoul. Dasan’s teaching method of practical action for governing was passed to Choui and it led him to create various collaborations, calligraphy and paintings such as 「Baeguncheop」. The greatest mediator was tea in the friendship between Choui and Chusa. As can be seen in Choui’s <Dayeon(茶煙)> or Chusa’s <Jeondasammae(煎茶三昧)>, the expression that brewing tea was a stage of samadhi was the highest stage of making external objects and self as one and the transcendental aesthetic ideal. Since Choui thought that everything was Zen and Way, he had a progressive thought of calligraphy and paintings that calligraphy and paintings were also Zen and Way. Since Choui accepted Confucianism based on Buddhism, his brewing tea samadhi creation of poetry, calligraphy and paintings embodied the aesthetic stage of Buriseon(不二禪). In addition, a beautiful natural environment of Daeheung temple was in harmony with Choui’s calligraphy and paintings emotional aesthetics, and it was reflected as a plain aesthetics of returning to the origin. The unity of Confucianism and Zen Buddhism of Choui’s calligraphy and paintings was embodied by sublimated into the aesthetic boundaries of Buriseon(不二禪) and the ‘one mind the acme’.

참고자료

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