栗谷 『醇言』의 한국철학사적 位相에 관한 연구

조민환(Jo Min-Hwan) 한국동양철학회 2009 동양철학 Vol.0 No.32

조선조에서 開明성과 聰明성을 통하여 전체를 통관해야만 보이는 物極必返의 진리가 우주론 뿐만 아니라 인간에게도 적용된다는 것을 체득하라고 한 것은 사실 율곡이었다. 이러한 물극필반의 원리를 이기론에 적용하여 이해한다면 物極으로서의 퇴계의 主理論이 必返의 원리를 담고 있는 율곡의 理氣之妙적 사유로 나타났다고 본다. 즉 조선조 이기론의 변천을 중심으로 볼 때 이같은 물극필반의 원리를 알게 되면 조선조초기부터 이어져왔던 주리적 경향 혹은 주리파가 가치를 낮게 평가한 이 세계를 이루는 또 하나의 요소인 氣의 중요성이 대두됨을 알 수 있다. 이런 경향을 가장 잘 담아내고 있는 가운데 대표적인 인물이 율곡이다. 율곡은 그런 기운을 놓치지 않고 변화된 상황에 맞는 適宜한 權道 실천으로서 『노자』 주해서인 『醇言』을 주해했다고 본다. 율곡은 화담과 같이 唯氣論을 주장하지도 않고, 이기묘합적인 사유를 통하여 두 사상을 종합적으로 묘합시키되, 退溪에 비해 상대적으로 기를 중시함으로써 物極必返의 원리를 그 시대에 맞게 보다 자연스럽게 적용하고 있다. 유가의 體用一源의 원리를 그 시대에 맞게 보다 자연스럽게 적용하고 있다. 유가의 體用一源과 ‘下學而上遠’ 및 修己治人의 입장에서 이해된 『순언』은 理氣論에서 尊理적 사유 혹은 主理적 사유가 윤리적인 인간을 형성하게 하는 많은 장점이 있음에도 불구하고 야기시킬 수 있는 사유의 절대성, 경직성, 편협성을 극복할 수 있는 점을 보여주었다. 이런 점에서 볼 때 『순언』에는 이단을 무조건 배척하는 입장이 아닌 상호 의사소통을 통한 통합과 공존의 논리, 포용의 입장이 담겨 있다. 진리에 대한 공명정대한 입장에서 출발한 율곡의 『순언』 주해는 이후 진리에 대한, 현실 인식에 대한 새로운 장을 열어주어 한국사상이 보다 다양한 측면에서 논의될 수 있게 하였다. 이처럼 理 불변적 사유에 입각한 주리적인 입장에 비해 상대적으로 변화를 중시하는 氣 중시적 사유에서 나올 수 있는 물극필반의 논리는 이전과 변화된 상황에 대한 정확한 인식과 이전과 다른 새로운 차원에로의 전환점을 제공하였고, 이에 『순언』이 한국철학사에서 차지하는 위상을 알 수 있다. This Study is focus on the Yul-Gok's Lao Tsu commentary 『SunEon』 and Korean Philosophical phase. There are many commentary on Lao-Tsu in china Jo-Sun Dynasty. Why is it do difficult to search for common understandings in the history of commentaries on Lao-Tsu. All of them may reveal the commentator's thoughts of intellectual of his period rather than the original meanings of Lao-Tsu commentary 『SunEon』 is one of them. the Lao-Tsu commentaries have diverged and coexisted in the history of Korea culture and philosophical thought, especially Jo-Sun Dynasty. Yul-Gok's the Lao-Tsu in Jo-Sun Dynasty. Especially this commentary focus on the re-establishment of taoist tao's originality and Lao-Tzu's original thought through confucious viewpoint. An ordinary confucianist regard Lao-Tzu as heretic. But Yul-Gok did not think alike. Yul-Gok regard Lao-Tzu have an eternal truth upon comparison with confucious viewpoint, such as thought is reflected philosophical change in Jo-Sun Dynasty. In correct term, all kinds of things reach limit it always return counterforce. For this reason, Yul-Gok regard Lao-Tzu have an eternal truth through confucious viewpoint and as such his thought make a turning-point in Korean philosophical thought.

朴世堂 老莊註釋書에 나타난 易理的 思惟에 관한 연구

조민환(Jo Min Hwan) 한국동양철학회 2010 동양철학 Vol.0 No.33

조선초 이단에 대한 사상적 공박을 통하여 노장사상의 관념성과 비실용성에 대한 비판이 진행된 이후 노장사상의 사상적 가치와 유가와의 공통성, 소통성에 착안한 실용적 응용가능성이란 측면에서 도가사상을 연구하는 경향성을 보이는데, 그 단초를 열어준 학자는 李珥다. 그러나 李珥는 『노자』에만 초점을 맞추어 말했지만 노장을 모두 거론한 조선조에서의 유일한 학자는 박세당이다. 박세당은 이단사상인 노장에 대한 연구가 빌미가 되어 사문난적으로 배척당할 수 있는 정치적인 위험을 감수하면서 노장연구를 감행한 동기에는 유가와 도가 사이의 차별성에 대한 논의보다는 유가와 도가사이의 사상적 공유지점에 대한 이해가 선행되었다고 할 수 있다. 그 공유지점의 사상적 기반은 바로 易理에 있었다. 즉 비록 ‘以儒釋老’적 측면이 있지만 조선조에서 『노자』와 『장자』에 대한 성리학적 개념틀, 특히 易理적 사유를 통하여 체계적으로 주석한 것이 바로 朴世堂의 『新註道德經』과 『南華經主解刪補』이다. 박세당은 노장사상이 모두 유가의 성인이 지향하는 修己治人의 논지를 담고 있다고 보는데, 수기치인의 형이상학적 근거는 易理적 사유에 바탕한 道의 體에 대한 形而上者로서의 이해, 太極陰陽論, 有無論 및 體用一源의 측면으로 나타난다. 특히 周濂溪 『太極圖說』의 “無極而太極”과 『周易』의 “易有太極, 是生兩儀”의 틀을 통하여 노장을 이해하는 것을 많이 발견할 수 있다. 이런 점과 관련해 박세당이 중국역대 기존의 노장주석서 가운데 특히 魏晉시기의 王弼을 중심으로 하는 ‘崇本息末’,‘貴無論’, ‘以無爲本’의 차원에서 『노자』를 이해한 것에 대한 비판을 하고 있음에 주목할 필요가 있다. 박세당의 이런 이해는 『장자』의 경우에도 마찬가지로 적용된다. 박세당의 그것에 대한 대안은 바로 유가의 易理적 사유로서 노장을 이해하는 것이다. 즉 박세당처럼 역리적 사유에서 접근하면 노장은 더 이상 異端의 書가 아니게 되며, 이런 박세당의 분석은 열린 사유로 진리를 객관적으로 탐구하고 하는 사유가 담겨 있다고 할 수 있다. This essay is an analysis of ParkSeDang's Lao-Zhuang Commentaries which has builted up some theory and structure. In his Lao-Zhuang Commentaries he argued Lao-Zhuang's thought basically follows the Book of Changes theory and structure. A term used in The Book of Changes to refer to the source or the fundamental principle of all things, in which Lao-Zhuang Commentaries are no exception to this rule. We particularly pay special attention to as a Confucian scholar in the Joseon Dynasty period who learned the importance of Lao-Zhuang's thought. ParkSeDang is one of the Joseon scholars who emphasized practical learning and an open-minded person. To put it concretely, it is substantially as follows. In all points, ParkSeDang really want to stress the Lao-Zhuang's thought follows 『The Explanation of the Diagram of the Supreme Ultimate』' allotype, particularly adopt an ‘ultimate of nonbeing is also called supreme ultimate’, also follows ‘the substance and phenomenon are same root allotype’ and ‘Pinciple is one but its manifestations are many’, “In the Changes, there is the Supreme Ultimate, which produce the two forms. The two forms produce the four emblems.” etc. Now to conclude, his thought about Lao-Zhuang's thought basically follows Ned-confucianism's structure and allotype. His thought about Lao-Zhuang's thought like this understanding shows a Lao-Zhuang's thought is not nothing further regard a doctrine as heresy.

퇴계(退溪) 이황(李滉) 서예미학(書藝美學)의 기상론(氣象論)적 이해

조민환 ( Jo Min Hwan ) 퇴계학연구원 2019 退溪學報 Vol.146 No.-

This paper discusses the Toegye Lee Hwang’s calligraphy theory based on the reason that “calligraphy is a picture of the mind,” focusing on the aspect of moral spirit. To understand the calligraphy spirit of Toegye, it is the interest of Toegye in Xinjing fuzhu. The term “how to express the right mind” in Toegye’s calligraphy is related to “the reason for mind” and “respect” in Xinjing fuzhu. Toegye refined calligraphies are formed by characters as a result of learning and moral training. His calligraphies warn against exaggerated techniques and instead express the common, simple, gentle aestheticism of the moderation. This aesthetic atmosphere is possible in the state of perfect harmony of all material objects and oneself, which corresponds with the body and mind. It can intend a free world without the opposition of the mind and other material objects. Toegye especially tried to apply the philosophy of “the principle worked” to calligraphy. In his attempt to express “Neutralization Aesthetics,” Toegye’s calligraphy style shows his lifelong learning. Therefore, Toegye tried to load the Road of the Holy Man as a calligraphy. This calligraphy style reflects the character and learning of Toegye.

계씨(季氏) 참월(僭越) 행위에 대한 유가(儒家) 예악론적(禮樂論的) 고찰(考察) -‘계씨팔일무어정(季氏八佾舞於庭)’등 계씨(季氏) 참월(僭越) 행위를 중심으로 -

조민환 ( Jo Min Hwan ) 퇴계학연구원 2018 退溪學報 Vol.144 No.-

This article explored Confucian theory of music and music from the standpoint of Jishi's eight-row dance at his home, and Confucius's deep hatred of sanjia singing Yong song when he finished the ceremony. The act of ishi and sanjia beyond his own fractions is an act that does not conform to his status and virtue. It is an act against the doctrine of the rectification of names. It is an ignorant act that ignores the principle of nature and does not know what rite and music is expressed by maximizing human desires. If he knew this, he would have done a rude act of small boys who enjoyed enjoying their own desires, and as a result, he can say that he was a virtuous person himself. Their behavior beyond their 'ignorant and ghosted' fractions eventually leads to the possibility of disturbing the world. In this regard, Confucius saw 'deeply hateful' and could not tolerate it. Through the above, it can be seen that music and music in Confucianism is not only meaningful in the artistic level but also applied to various fields such as politics, education, ethics.

옥동(玉洞) 이서(李?)의 이기성정론(理氣性情論)과 서예인식(書藝認識) - 퇴계(退溪) 이황(李滉)과의 관계를 중심으로

조민환 ( Jo Min-hwan ) 퇴계학연구원 2016 退溪學報 Vol.140 No.-

T`oe-gye Yi Hwang held a high position as an Confucian and also played an important role in the calligraphy history of the Chosun dynasty. T`oe-gye`philosophy of his Li purported to establish the basis for moral man who practices the highest good in real life. Yi Hwang`s theory of calligraphy is no exception, and affects formation theory of calligraphy of Lee seo. Donggukjinche has been developed with Lee seo who is the calligraphist of the 17th~18th century. Lee seo advanced a theory on calligraphy in his book Pilgyoul. His to discuss LiQi, to discuss Reason and Emotion corresponds to the main body, and calligraphy theory should correspond to a phenomenon in that on the main body. He emphasized the moral and artist`s sublimation in Pilgyoul. Oriental art is mainly of expressing an artist`s nature and emotion, or his art. Within the Confucian way of thinking, calligraphy put more emphasis on virture than arts, Li than Qi. Lee seo`s view of art in calligraphic aesthetics wad that one should value much of his own personality and foster morality. Wang Xizhi the high regard for him. In addition, he is aimed to realize the beauty of it. The concept of mind the Lee seo emphasizes is that one should truly find balance not to lose his righteousness, which can be realized only after the long process of ripening. The principle is that everything depends on heart. In the Confucian thinking with Mean which emphasizes self cultivation not to have cunningness in thinking or to have respect in everything, calligraphy serves as art of mind. Lee seo directed the calligraphic aesthetics was just that.

정조(正祖)의 ‘심화(心畵)’ 차원의 서예 인식에 관한 연구

조민환 ( Jo Min-hwan ) 퇴계학연구원 2021 退溪學報 Vol.149 No.-

It is the case that calligraphy is understood in terms of ‘picture of the heart,’ in terms of learning calligraphy from a respectful mind, or in terms of helping one’s mind, and in terms of ‘writing is correct when one's heart is right.’ One example is the recognition of calligraphy by King JeongJo of the Joseon Dynasty. Jeongjo's belief in Neo-Confucianism in ‘the dimension of revealing the line of Confucian saints’ and ‘the error-free dimension of truth’ is also applied to ‘Handwriting Restoration and Real Spirit Embodiment.’ In particular, the writings of the Ming and Qing eras criticize that they are not ‘the writings that govern the world,’ which apply to ‘Handwriting Restoration and Real Spirit Embodiment.’ Jeongjo argues that the so-called ‘do six things and do not six things’ as a way to overcome the free-spirited west wind led by Yoon Soon at the time in terms of losing its ‘true energy.’ What King Jeongjo wants to do is ‘fatty, dreary, stagnant, dull, brave, ordinary’. Don't do it is ‘thinness, finesse, lack of restraint, harshness, madness and eccentricity, harshness and bias.’ But the point of Jeongjo's ‘do six things and don't six things’ is presented as a way to overcome problems seen in ‘thinness, craftiness, lack of restraint, harshness, madness and eccentricity.’ King Jeongjo's the ultimate goal is to realize the moderation aesthetics based on Neo-Confucianism in calligraphy. This can be seen from the affirmation of Zhao MengFu's calligraphy, which applies the aesthetic of moderation well to calligraphy. These ‘do six things and do not six things’ is intended to restore the typeface containing true energy that helps King Jeongjo rule the world, which is the core of Handwriting Restoration and Real Spirit Embodiment. The reason for this ‘Handwriting Restoration and Real Spirit Embodiment’ is to realize the beauty of moderation in calligraphy, as well as to ‘preserve the reason of heaven and eliminate human desire.’ In conclusion, King Jeongjo's emphasis on the style of calligraphy, which came from the point of ‘If you have a good heart, you have good handwriting,’ contains the reason for ‘loading the truth as calligraphy.’

중장통(仲長統)「락지론(樂志論)」을 통해본 은사(隱士)의 삶

조민환 ( Min Hwan Jo ) 한국동양예술학회 2014 동양예술 Vol.25 No.-

Hermit culture, as an essential part of chinese traditional culture. Generally speaking A person who withdraws from the world to live in seclusion and often in solitude. But Zhongchang Tong hold differing views. Zhongchang Tong was the progressive thinker, writer and the last representative of the trend of social criticism in late Eastern Han Dynasty. Late Eastern Han Dynasty was a very confused period for kinds of social contradictions and the state apparatus could not function smoothly. In this situation Zhongchang Tong is tired of the ways of the world and wants desperately to live the life of a hermit. Zhongchang Tong had to settle for expressing his idea by writing the Essay of Lezhi. People living in seclusion generally don``t like to ask about trivial things happening in society. Zhongchang Tong lives fronting water and with hill on the Back. He built his own hideaway where he could entertain his friends. He led a joyous and secluded life, playing with instruments, contented, happy, asking nothing better. He did not gain fame and position. He take off the super popular and hope free and unfettered. From now on he was going to please myself and let the world go hang. He hope live forever and eternal life period. He did not pursued into the imperial gate. This attitude has Lao Zhuang philosophy of life interest.

전통(傳統) 가옥(家屋) 공간(空間)의 미학적(美學的) 이해(理解) 유학적 사유틀이 반영된 전통 가옥 공간을 중심으로

조민환 ( Min Hwan Jo ) 한국동양예술학회 2011 동양예술 Vol.17 No.-

This study about the aesthetics of harmonious Korean old architecture that blends into nature and a living space. Confucious said that we could love all creation if we practice benevolent living(里仁) in comfortable land(安土). Comfortable land in this case, means an extremely beautiful land according to the principle of Fengshui(風水). In other words, that means truly beautiful, and the people would truly live a happy, comfortable life lf they understood the heavenly order. Jeoseon scholars, for example like Yi Toegye and Jeong Dasan are recognized Fengshui in aesthetics, ethical and political aspects of human life and philosophical ideologies. And in the ideologies shanshui became an ideal space of virtue. This ideology played an influence role in East Asian architecture and Korean architecture to select an ethical living space. For example. like Yi Toegye established Dosanseowen are most represented site in Korean old architecture. Yi Toegye, one of the famous New Confucian philosopher in Chosun dynasty try to keep the rular life style with the ideal of traditional New Confucian and cultivate his own mind and body in nature. He, thought Toegye village, realized the nature is very living truth, and it is just a canonical text. Just like New Confucian philosophy began to influence Jeoseon scholars`` ideas of nature. Under the philosophy the scholars believed nature presented the universal principle and tried to cultivate their own spirits in nature. This landscape image are corresponding to the scholar``s philosophic dreams, but are contrasting with their official lives of conflict. The specific local sites and the figures to expressed their own spirits, properties and elevated minds.

추사(秋史) 김정희(金正喜) 서화론에 관한 미학적 고찰 - 삐에르 부르디외의 ‘구별짓기’를 중심으로 -

조민환 ( Jo Min Hwan ) 한국동양예술학회 2021 동양예술 Vol.51 No.-

This paper was considered by Pierre Bourdieu by applying the distinguishing reasons set out in 『distinction: sociology of culture and taste』 to Kim Jung-hee’s calligraphy and painting theory. Pierre Bourdieu states that cultural nobility, like the original aristocracy, are distinguished by innate excellence and monopolizes artistic legitimacy. This view can be applied when analyzing Kim Jung-hee’s nobleman's view of art. Most neo-confucian scholars are wary of what is considered sap one’s spirit by seeking pleasures, and Kim Jung-hee argues that art is the study phenomena to acquire knowledge of confucian scholars, and that all of nobleman’s actions express truth. As Kim Jung-hee argues, understanding art in connection with the study of neo-confucianism’s study phenomena to acquire knowledge will no longer be sap one’s spirit by seeking pleasures. Instead, it is necessary to think about what it means to do art activities, and to find a way to solve them in order to secure legitimacy. Kim Jung-hee boils down to art performed by nobleman, which contains distinction. As for art performed by nobleman, Kim Jung-hee demands the following, in other words, it requires not to deceive oneself before an act of art, to refrain from being alone, to contain 5,000 books and 5,000 letters in one’s heart, and fragrance of words and bookish charm. It also presents clear, noble, old, elegant and upright, strong, old and humble as ideal aesthetic items to be captured. As a result, the emphasis on noble man’s art is based on the law of calligraphy, the dignity of poetry, and the essence of painting are the same in subtle ways, and Kim Jung-hee further argues that there is a taste of calligraphy in the poem and there is a taste of poetry in the calligraphy. Emphasizing this is that calligraphy and painting should be art that expresses the charm of literati. In response, Kim Jung-hee considers whether the technique is exquisite and inferior or expresses follow a model’s beauty in the be similar in form or apperance dimension. As a result, it aims for humanities art at the nobleman’s art level, which is why distinction works.

원곡(原谷) 김기승(金基昇)의 ‘성령(聖靈)을 성령화(性靈化)한 서예미학’ 연구

조민환 ( Jo Min Hwan ) 한국동양예술학회 2021 동양예술 Vol.50 No.-

When talking about the calligraphy world of ‘WonGok KimGiSeng’, focusing only on Korean calligraphy, ‘WonGokTypeface’ contains ‘globality’, ‘utility’, ‘popularity’, ‘primitiveness’, ‘sensibility’, ‘rhythmism’, and ‘symbolism’. Applying the concept of elegance and belonging to ‘WonGokTypeface’, which tends to be like this, corresponds to a font that is closer to “genuine” rather than “elegance”. This thesis attempts to clarify the meaning by approaching of ‘WonGok’ from the level of philosophy and aesthetics. ‘WonGok’ emphasizes a new dimension of formal beauty that fits the aesthetic sense of modern people living in a changed era in relation to calligraphy creation. The style of calligraphy that “expresses the will” pursued by the literary grandfathers in the past is also important, but it is said that the style of “respect for form” based on the free spirit and individuality of modern people is more important. Accordingly, WonGok’ tried to embody the freedom, creativity and individuality of the ‘human spirit’, and in particular, Korean was intended to be included in human in the ‘human spirit’. In other words, ‘WonGokTypeface’ is the result of creating a new formal beauty by putting the Korean spirit, freedom, creativity, and individuality in calligraphy. This ‘WonGokTypeface’ has power and life is energized. The dots and strokes express the Holy Spirit and their own ‘soul’. In this regard, calligraphy in the life of the original song means changing ‘Holy spirit‘ to ‘soul’, and the result is ‘WonGokTypeface’.