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하정승(Ha Jung Seung) 동양한문학회(구 부산한문학회) 2015 동양한문학연구 Vol.42 No.-
杏村 李嵒(1297-1364)은 14세기에 활동했던 문인이자 학자이다. 이암은 급암 민사평, 가정 이곡과 비슷한 세대로 이들과 교유가 깊었다. 이들의 우정은 다음 세대에서도 계속되어 이암의 아들인 평재 이강과 목은 이색은 막역한 사이였고, 인간적 교유와 주변 가문들과의 혼인을 통하여 여말선초의 지식인 사회를 구성하는 하나의 세력으로 성장해 나갔음을 볼 수 있다. 이암은 성균대사성, 정당문학을 역임하며 중앙정계에서 활약하였고, 수많은 명문의 사대부들과 교유를 나누는 등 조부 이존비가 일군 가문의 성세를 궤도에 올려놓고, 후손들에게 길을 열어주었다는 점에서 고성이씨 가문으로서는 매우 중요한 인물이자 기념비적인 업적을 이룩하였다고 볼 수 있다. 아마도 행촌이 아니었으면 이원이나 이주와 같은 걸출한 문인이 배출되지 못하였을 것이다. 현재 전해지는 이암의 유일한 문집인 『철성연방집』에는 행촌시가 모두 11수가 수록되어 있다. 하지만 그 작자의 진위문제를 고증한 결과 4수만이 행촌의 작품이고, 나머지는 모두 중국 시인들의 작품임을 본고에서 밝혔다. 행촌은 그동안 잘 알려진 대로 고려 최고의 서예가일 뿐만이 아니라 훌륭한 시인이기도 했다. 이것은 당대의 수많은 문인들이 행촌에게 贈詩한 사실을 통해서, 특히 『동인시화』 같은 비평집에 뛰어난 시인으로 언급되어 있는 것을 통해 증명이 된다. 그의 문학적인 명성과 재주는 이미 동시대에 널리 알려졌음을 여러 자료들을 통해 확인할 수 있다. 본고에서는 행촌시로 전해지는 작품들에 대한 정확한 작자 고증과 함께 행촌의 시세계를 詩品과 회화적 이미지 등 주로 당시풍적인 측면에서 살펴보았다. 행촌시의 가장 큰 특징은 세속의 때를 벗어난 淸新·淸絶함과 회화성에 있다. 이같은 요소들은 기실 唐風的인 면모와도 관련이 깊다. 이 점은 행촌의 후손인 용헌 이원이나 망헌 이주의 시를 보면 더욱 분명해진다. 주지하다시피 이주가 당시풍 한시의 대표적인 작가라는 점은 이미 많이 알려져 있다. 본고에서는 이원이나 이주의 당시풍 창작 경향과 문학적인 재능이 행촌으로부터 대대로 이어져 온 이 집안의 전통이자 가법으로 파악하였다. 후손들 중에서 특히 시에 재주가 있었던 문인들은 선조들의 이같은 전통을 이어받아 자기 나름대로의 시세계를 보여주고 있는 것이라 판단된다. Haengchon Lee Am(杏村 李嵒)is a scholar and writer worked in the 14th century. He had deep exchanges with Min Sapyeong and Lee Gok. They handed down their friendship to the next generation. Their sons became one force that constitute a society of intellectuals by marriage and networking in end of the Koryo dynasty and early Chosun dynasty. Lee Am moved about most energetically in the political world in the top government position of Seonggyungwan, and made the development of family go into orbit. He contributed to sending a number of the family's preeminent literary personalities like Lee won, Lee ju etc. Thus he is very important people of the Lee family. 『Chulsungyeonbangjib』 handed down this day is the only collection of Lee Am's works. All 11 poems are presented in this book. But only 4 poems were proved to be written by Haengchon himself. Rests are works by Chinese poets. Haengchon is not only the best calligrapher but also poet in Koryo dynasty, which is proven through 『Donginsiwha』, colletion of criticism at that time. And other materials certify his literary talent as being widely known to people of contemporary. In this manuscript, I looked at Haengchon's poems in terms of the Tang's poetical style-the dignity of poetry and pictorial images appeared in his poetry along with historical research. The best features of Haengchon's poems are the pictorial characters and Chungsin(淸 新)·Chungjeol(淸絶)-the dignity of poetry. These are deeply relevant to Tang's poetical style. This fact becomes clear through the poems of Lee Won and Lee Ju who are descended from Lee Am. As you know, Lee Ju is known for creating Tang's poetical style of Chinese poetry. In this article, the tendency of creation showed in poems of Lee Won and Lee Ju has been handed down from Lee Am. Descendents who have a talents for writing in their blood are generally thought to show their own poem world following ancestor's.
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하정승 ( Jung Seung Ha ) 근역한문학회 2014 한문학논집 Vol.39 No.-
Doeun-Leesungin is considered one of the poets who wrote sensuous poetry in the history of Korean Chinese poetry. That is because his way of expression possesses sensuous beauty. He has much skill in a command of imagery. His imagery is synaesthetic-a mixture of foure senses(sight, hearing, touch, smell, and taste). In particular, visual images are the critical element in his imagery. But his imagery is well beyond drawing pictures and like a net woven from many different kinds of sensuous images. That net is not simple collection of images since it connotes multiple meanings. It is closely connected to ‘eusang(意象)’, which equals images in oriental style of aesthetic terms. In this thesis, I look at pathos expressed through his imagery. His poems have a well-organized plot to show sensuous beauty effectively. In other words, sensuous beauty mixes well with architectonic beauty in his poems. Doeun’s sensuous mode of writing poetry is relevant to the introduction of Tang’s poetical style. His poems have Tang’s literature-influenced element over most along with poems written by Jungjisang, Jungmongju, Kimkuyong. The poetry of the Goryeo Dynasty has a poetical style of late Dang dynasty and also a poetical style of Song dynasty in Korean traditional literary history. This trend of poetry creation had been handed down since Unified Silla Period. This thesis examines who adopted a poetical style of late Dang dynasty to his poetry creation in the history of Goryeo literature. In order to present the characteristic of this trend more specifically, I would like to focus on a poetical style of late Dang dynasty showed in Leesungin’s poetry, which has to do with the expression of sensuous images. A study on poetical style of Tang dynasty introduced into Koryo could help know such poetical style’s change and development in history of Korean traditional literature. Increasingly, it is imperative to examine the characteristic of a poetical style of late Dang dynasty in Leesungin’s poetry. Because he is the representative poet who wrote poems pursuing the Tang’s poetical style in the history of Korean Chinese poetry.
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하정승 ( Jung Seung Ha ) 근역한문학회 2011 한문학논집 Vol.32 No.-
《Dongsihwa(東詩話)》written by Hagyomjin(河謙鎭)is generally called the last Sihwajib(詩話集) which is written in Chinese characters. Hagyomjin was born in Jinyang, Gyeongsangnam -do and the disciple of Gwakjongsuk, a prominent Confucian scholar. And he was also the successor to Teogye. His family had been influenced by Josik for a long time, so took on the aspect of Yeongnam Sarim in academic traditions. Junginbo who wrote the introduction of 《Dongsihwa》said that Hagyomjin was the best one of Confucian scholars who worked during the Japanese occupation. Especially, 《Dongsihwa》into which he put all the literary sense and academic talent late in his life, has a huge significance in the history of Sihwa(詩話). This book coveres more various writers and their works than others. For example, we can find discussions about Sinwi, Leegunchang, Hwanghyon, Kimteakyoung only in this book. From an critical point of view, 《Dongsihwa》has both quantitative and qualitative qualification which decende from 『Bohanjib』→『Donginsihwa』→『Sungsusihwa』→『Jibongyuseol』→『Sphwasipyong』. So it was the grand finale of a Korean Sihwa criticism. 《Dongsihwa》starts in Choichiwon`s poetry criticism which is called the origin of Korean literature and ends with the story about the poetry of Hwanghyon who is patriotism poet in the latter era of the Choson Dynasty. Therefore readers could pass an eye over major writers and works in the history of Chinese poetry in Korea. This is the《Dongsihwa》`s own advantage. Hagyomjin considered the poems that don`t have excessive techniques and explicitness-Onyudonhu(溫柔敦厚) as the best. This shows his point of view on poetry as Confucian scholar. In the end of《Dongsihwa》, Hagyomjin said that there was two selection criteria of contents. One is ``Does it have a valuable fact(事之可傳)?``. The other is ``Is it a great poem(詩之工妙)?``. The former represents the aspect involved in anecdotage, and the latter represents the aspect involved in literary criticism.
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14세기 후반 목은그룹의 형성과 둔촌(遁村) 이집(李集)의 문학 활동
하정승 ( Ha Jung-seung ) 우리한문학회 2021 漢文學報 Vol.44 No.-
In the 14th century, Goryeo literature was created with so many writers and meaningful works as “Mokreungseongse (穆陵盛世)” in the mid-Chosun Period, bringing the richness of literary history. At its center is a so-called Mokeun group. Dunchon Lee Jip, who was discussed in this script, is a key figure in Mokeun group. The group is divided into Mokeun’s disciples, colleagues and juniors, and the group of disciple is divided into Mokeun’s direct disciples and disciples of a disciple, and is generally selected when Mok-eun presided over the civil service exam. Representatives of the disciples’ group include Kwon Geun, Ha Ryun, Gil Jae, and Yi Sungin. Most of the colleagues and juniors worked in academia, politics, and literature, and naturally followed Mokeun. There are some of these people who need particular attention. They were selected in 1367 (the 16th year of King Gongmin’s reign) by Mokeun as the chief executive of Seonggyun-gwan Academy(成均館大司成) to rebuild the study of culture and heritage of the country, studying, lecturing and teaching Neo-Confucianism. These include Kim Gu-yong, Jeong Mong-ju, Park Sang-chung, Park Ui-jung, and Yi Sungin. They will serve as close aides to Mok Eun. In terms of literary history, Mokeun Group’s most meaningful activities include active poetry councils. In particular, Mokeun, Dunchon, Poeun, Doeun, Cheonyakjae, Sambong, and Yangchon showed a very meaningful collective creation. A particular space appears in their poetry. Yongsu Mountain in Gaegyeong, Songak Mountainsan, Anhwasa Temple in Zaha-dong, and Yeogang of Yeoju, Gyeonggi-do. In particular, Cheongsim Pavilion in the Yeogang was the center of urban activities in the late 14th century. There are about dozens of poems exchanged in these groups. In fact, their active poetry is related to the poetry that spread like a trend in the 13th century. Not only did Dunchon Lee Jip play a central role in the Mokeun Group, but he also deeply had an active exchange with other contemporary writers. Writers who have interacted with Dunchon are divided into five main categories: the above-mentioned figures of the Mokeun Group, the former members of Dongbang(同榜), the seniors and juniors of other literary groups, the Chinese writers(Chinese envoys), and the Buddhist group. The most distinctive characteristic of Dunchon is his active communication with contemporary writers and various creative trends. This suggests that Dunchon devoted most of his life to writing poems and made various literary attempts. In terms of literary history, Dunchon was at the center of the active poetry council activities in the late 14th century, influencing many writers, and as a result, his literary activities contributed to the development of literary history in the late Goryeo Dynasty.
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