옥봉 백광훈의 풍류와 제화시

황수정 한국시가문화학회 2024 한국시가문화연구 Vol.- No.53

본고는 옥봉 백광훈의 풍류와 제화시를 고찰한 것이다. 그동안 연구된 옥봉 시의 문학적 성과를 기반으로 한발 더 나아가고자 하는 데에 연구의 초점을 두었다. 따라서 그가 이룩한 옥봉 시의 미적 기반으로서 화가와 악사들과의 교유하는 풍류를 살펴보았다. 또한 옥봉 제화시의 예술적 면모를 고찰하였다. 첫째, 예술인들과의 교유와 풍류를 살펴보았다. 여기서는 당대 뛰어난 화가인 김계수가 자신의 그림에 옥봉의 시를 부탁한 점 등을 밝힐 수 있었다. 또한 당대 고수였던 가야금과 거문고 악사와의 교유는 옥봉의 풍류적 기질과 그 성향을 밝히는데 주요하였다. 이는 곧 옥봉 시의 예술적 미감의 저변이 되었을 것이다. 둘째, 제화시의 예술적 면모를 고찰하였다. 먼저 옥봉의 회화에 대한 견해와 인식을 살펴볼 수 있었다. 자신의 미적 견해와 예술적 면모를 유감없이 드러낸 것을 알 수 있었다. 옥봉 제화시 미감의 정취에도 주목하였다. 제화시는 주로 산수화 또는 산수인물화를 중심으로 청신하면서도 한적하게 와유하는 정취를 담고 있음을 알았다. 이로써 목릉성세 호남시단의 주축을 이루었던 옥봉 시세계의 일면을 새롭게 조명할 수 있었다. This study speculated on Okbong Baek Gwang-Hun’s elegant taste and Jehwasi. Based on the existing literary achievement on Okbong’s poetry, this study investigated his poetry intensively; in particular, the aesthetic base of his poetry and his elegant taste through friendship with painters and musicians including artistic aspects of Okbong’s Jehwasi. First, this study gave a focus on the friendship with artists and his elegant taste and it was discovered that Kim Gye-Soo, one of outstanding painters at that time, asked Okbong to write a poem for his painting. Also, friendship with outstanding Gayageum and Geomungo musicians demonstrated that he had elegant taste and tendency to love art and music. It was assumed that the friendship would be the base for his artistic sense. Second, this study investigated the artistic aspect of Jehwasi through his opinion and recognition on painting. In Jehwasi, he showed his aesthetic opinion and artistic taste. Aesthetic sense in Okbong’s Jehwasi was investigated. It was discovered that the Jehwasi had artistic and tranquil mood centering on landscape painting or landscape and figure painting. It was concluded that this study gave a new spotlight on the aspect of Okbong’s poetry that was a main axis of the Honam Poetry Circle of Mokreugseongse.

논문(論文) : 옥봉(玉峯)의 시세계(詩世界)

천부성 ( Boo Sung Chun ) 한국한문고전학회(구.성신한문학회) 2010 漢文古典硏究 Vol.21 No.1

본 논고는 16世紀 韓國 漢詩史上 宋詩風이 주류를 형성하던 詩風이 唐詩風으로의 전환기를 맞이하여 그 중심에 있던 三唐詩人 중 湖南 제일의 시인으로 꼽히며 五言絶句의 風格이 千年 속에 가장 위대하다고 定評이 나 있는 玉峯 白光勳의 詩世界를 다루고자 하였다. 이에 서론에서는 三唐詩人의 정의와 玉峯 白光勳의 詩에 대한 기존 연구자들의 연구방향과 내용을 제시하고 본 논고의 연구 방향을 제시하였다. 다음으로는 玉峯의 시세계에서는 作品의 槪觀 및 內容別 作品을 통하여 玉峯의 시세계를 分析하였다. 作品의 內容에서는 객지에서 고향을 그리워하는 것이나, 친구와의 이별을 아쉬워하는 孤獨의 情恨, 그리고 역사적 현장에서 역사적 사실을 연상하면서 느끼는 감회를 읊은 無常의 懷古, 산수를 벗하며 자연에 심취 또는 계절의 정취를 읊은 自然의 景物, 마지막으로 世俗을 떠나 山寺에서 짓거나 여러 승려들과 주고받으며 느낀 것을 표현한 交遊의 脫俗으로 분류하여 作品을 분석해 보았다. 玉峯詩의 特徵에서는 修辭的 측면과 內容的 측면으로 분류하여 살펴보았다. 修辭的 特徵에서는 經史 및 故人古事·名人名句에서 詩意와 詩語를 통하여 표현하는 用事性, 자연의 뛰어난 景物을 통해 얻은 시인의 정감을 눈앞에서 그림을 보고 있는 듯 묘사하는 繪·性, 觀念化한 사물을 詩를 통하여 단순한 자연물이 아닌 자신이 추구하는 이상적 삶을 나타내는 象徵性으로 분류해 고찰하였다. 또한 內容的 特徵에서는 淸新한 內容과 古淡한 內容으로 분류해 고찰하였다. 이상과 같이 玉峯의 詩는 기존의 詩가 까다로운 修辭와 난해한 典故를 사용하며, 文學을 과시 혹은 心性修養의 도구로 생각하던 主理的 성향에서 탈피하여 聲律의 생동감 및 자연스러움이 넘치는 언어로 표현하는 主情的 성향의 시임을 확인할 수 있었다. 또한 玉峯詩가 관념적이지 않고 개인의 情緖를 솔직하게 표현하며, 生活的 情感을 詩化하여 文學의 獨自性을 확립한 점과, 唐詩의 詩法을 수용하면서도 우리의 풍토에 맞는 개성을 유지하고자 노력하였던 自主性은 특히 玉峯詩를 韓國 漢詩史的 측면에서 조명해 볼 때, 그 位相이 더욱 중요하다고 할 수 있겠다. A poetical style in the late Goryeo and the early Joseon was formed the mainstream of the Song dynasty`s poetic style including Su Dongpo. From a year of King Seongjong, especially the Gangseo poetical style dominated momentarily even out of Song dynasty`s poetic style. Tang Poetry, which had been intermittently followed from the early foundation of a country with entering the 16th century, was finally in full blossom with entering the period of Mokneungseongse(穆陵盛世). In the meantime, the poetic style faced a turning point in the age of Korea`s Hansi(Chinese poetry) history. There were three tang-style poets in the center of Learning Dang`s Poem. This study aims to address the poetic world of Okbong Baek Gwang-hun, who published collection of poems for the first time among three tang-style poets, whose number of works are extraordinarily many, too, who is selected as the best poet in Honam, and who is publicly acknowledged to have greatest refinement of Five-word Poems in a thousand years. In the introduction of ChapterⅠ, it examined the existing research achievements, and inquired into research objective and research method. In Okbong`s poetic world of ChapterⅡ, it performed the formal classification and the content-based classification in works first through a general survey of works. It examined by segmenting the contents of works in the world of work into what feels homesick in a strange land, what expressed the yearning heart with having a friend far away, the sorrow of solitude, which feels regrettable for separation from a friend, the reminiscence of uncertainty, which recited sentiments of being felt while associating with historical fact on the historical field, the scenery of the season in nature with the aim of discovering the matter-based ego in the subject amid nature, the uneasiness about life that is felt in government-post life of the chaotic world, and the unworldliness in friendship of being felt while giving and receiving poems with several Buddhist monks. Next, in the characteristics of Okbong`s poetry of ChapterⅢ, it proceeded with approaching important characteristics of Okbong`s poetry, by exploring the rhetorical characteristics and the content-based characteristics. Okbong accepted Tang Poetic Style, but maintained individuality. He completed individual and intuitive poetry that is excellent in creativity, thereby having obtained a name as a poet of Tang poetical style by changing himself in the middle of poem with leading a peaceful living, and allowed even internal conflict to be sublimed artistically. He can be said to be great in the significance of poetic-literary history in a sense that individualized literature by freely poetizing the specific and individual living emotion and by recovering independent world in poem with escaping from the trend of regarding poem as a means of cultivating culture or nature in life of Sadaebu(scholar-officials of Joseon).

백제와 대가야 문물로 본 진주 수정봉·옥봉고분군의 새로운 인식

김준식 동아시아문물연구소 2024 文物硏究 Vol.- No.45

남강 북안의 진주시가지에 위치한 수정봉·옥봉고분군에서는 대가야양식 토기와 함께 백제계 문물이 출토되었다. 최근 수정봉 2호분이 재조사되면서 화려한 장식목관이 사용되었음이 밝혀졌고, 이는 기존에 알려진 청동용기 및 모방토기와 함께 수정봉·옥봉고분군에서 출토된 백제계 문물을 대표하고 있다. 고분군의 지리적 위치를 고려하면 일반적으로 소가야권역으로 이해할 수 있으나 실제로는 대가야 고분 문화가 강하게 확인된다. 백제계 문물의 출현은 백제의 걸탁성 영위 사건과 관계되었을 가능성이 있는데, 이 역시 당시 대가야와 백제의 관계 개선이 있었기에 가능했던 것으로 파악하였다. 진주 수정봉·옥봉고분군에서 최근 조사된 고고학적 현상과 함께 옥봉7호분의 성격 추정, 고분군의 조성 과정, 그리고 이와 관련된 역사적 맥락을 검토하여 대가야 지배층과 관계된 신흥집단의 출현을 제시하였다. 결과적으로 수정봉·옥봉고분군의 존재는 530년대 대가야권역이 남강 북안의 진주시가지까지 확대되었음을 보여주는 중요한 유적임을 밝혔다. The Sujeongbong and Okbong tombs are located in Jinju City, north of the Nam River. Baekje style cultural relics were excavated here along with Daegaya pottery. Recently, when Sujeongbong Tomb No. 2 was re-excavated, it was revealed that a colorful decorated wooden coffin was used. This, along with the bronze vessels and imitation pottery investigated in the past, represents Baekje style cultural relics from the Sujeongbong and Okbong tombs. Considering the geographical location of the tomb group, it can generally be viewed as the Sogaya area. However, in reality, the tomb culture of Daegaya is strongly confirmed. Here, there is a possibility that the emergence of Baekje style culture was related to the Baekje’s Geoltagseong Fortress occupation incident. However, it was understood that this was also possible because of the improvement in the relationship between Daegaya and Baekje at the time. By examining the recently investigated archaeological phenomena in the Sujeongbong and Okbong tomb groups, the character of Okbong Tomb No. 7, the construction process of the tomb group, and the related historical context, the emergence of an emerging group related to the Daegaya ruling class was presented. As a result, the existence of the Sujeongbong and Okbong tombs revealed that they were important historical sites that showed that the Daegaya region expanded to Jinju City on the north of the Nam River after the 530s.

가야 세장방형 횡혈식석실의 출현배경과 발전양상

김준식 한국고고학회 2017 한국고고학보 Vol.102 No.-

Gaya stone chamber tombs of the 6th century with elongated rectangular floors and central passageways were used as chiefly tombs in the southern coastal regions of Gyeongnam and the Nam River region. Different types of such tombs have been observed, such as the Sujeongbong type, Jungdongri type and Songhakdong type, and based on similarities in the stone chamber structure, these different types have been understood as having similar backgrounds of emergence and development. However, it has recently been suggested that the elongated Gaya stone chamber tombs may have experienced different backgrounds of emergence. The aim of this research, therefore, was to examine this possibility by analyzing the stone chamber structures and the accompanying funerary ceremonies. The stone chamber structures were found to have differences in terms of the passageway, the height difference between the chamber ceiling and the passageway ceiling, and the structure of the stone platforms where the deceased was laid to rest. In terms of the accompanying funerary ceremonies, differences could be observed in the use of iron nails and coffin rings, and in the use of burying metal containers. A distinction could be made between the tombs of the area around the Nam River and the tombs of the Goseong area. This distinction is seen to represent differences in the characteristics of the groups that built the ancient tombs, as well as the different backgrounds of their emergence. The backgrounds of the emergence of these tombs were investigated by looking at the historical backgrounds recorded in the historical literature, along with other archeological materials. It is possible that the adoption of the elongated rectangular stone chamber tombs by the communities of the area around the Nam River (at the center of which lie the tombs of Sujeongbong and Okbong in Jinju) was influenced by Baekje. In the Goseong area, a number of elongated rectangular stone chamber tombs were built, centered around the Songhakdong 1B-1 tomb, but no significant developments could be observed afterwards. Hence, it was suggested in this study that the different elongated rectangular stone chamber tombs of Gaya should be unified into a single type–the ‘Sujeongbong type’. Since the ancient burial grounds of Sujeongbong and Okbong may have consisted solely of stone chamber tombs, the trends of other contemporaneous burial grounds of the area around the Nam River were also investigated. The burial grounds of the Goseong area, which formed the center of Sogaya, featured more rectangular stone chamber tombs (similar to the Naesanri 34 and Songhakdong 1C-1 tombs) than elongated rectangular stone chamber tombs. The former spread throughout the region and can therefore defined as the representative stone chamber tomb of Sogaya.

『옥봉집(玉峯集)』 서문에 보이는 백광훈(白光勳)의 문예인식

김종서 ( Jong Seo Kim ) 근역한문학회 2009 한문학논집(漢文學論集) Vol.29 No.-

There are three prefaces of Yugun(柳根), YiJeonggu(李廷龜), Shinheum(申欽) and one epilogue of Yunguanggye(尹光啓) in Okbongjib. These prefaces show the trend of literary thought such as Dang style(唐風), Jeongeum(正音), Jeongseong(正聲) and the estimation of Okbong(玉峯) Paek Kwang-Hun(白光勳)`s literature. Okbong tried to change his situation through the poetic success. He thought that the absolute accomplishment was Dang poetry(唐詩). He made hard effort on the implication and the suggestiveness of poetry. So he gained the fame as a poet of Dang style(唐風). The sound of poetry was changed by the temper and the life environment. The sound of emotion was changed by the background of the work and the state of the feeling. This is Jeongeum(正音): the poetic embodiment of the harmony between sound and feeling. Okbong refined the poetic diction and made careful poetic idea and he accomplished perfect and natural poetic stage.

玉峯 白光勳의 唐詩風 展開樣相 考

朴秉益 한국고시가문학회 2004 한국시가문화연구 Vol.0 No.14

Okbong Paek Kwang-hun(玉峯 白光勳), who belonged to Three-tang School as a literary man in the mid Chosun Dynasty, wrote the poetry of Tang poetic style. His Tang poetic style was quite different from that of China as follows. He commanded colloquial expressions in his poems, used place names of Chosun, and tended to be conventional in using those of China. He made use of various methods to describe the surroundings realistically. He freed from the formal rhythm of a rigid Chinese poetry style, Jintishi(近體詩), and used not only the rhythm of Yuefushi(樂府詩), a style of Chinese poetry which was mostly about human nature and customs, but also Chinese sounds in a Korean style. The theme of Okbong's poetry shows that he transcended the anxiety and solitude which stemmed from his life, accepting the reality he faced These characteristics led to a new poetical style of the day.

『三唐集』을 통해 본 조선 중기 문인들의 이별 그리고 그리움의 변주 - 삼당 사이의 교유시를 중심으로 -

尹載煥 고전문학한문학연구학회 2009 고전과 해석 Vol.7 No.-

이 글은 조선 중기를 대표하는 시인이었던 三唐詩人 상호간에 주고받은 시를 대상으로 이들이 서로에 대해 가지고 있었던 정서의 시적 표출 양상에 대해 확인해 보고자 한 것이다. 三唐詩人이란 조선 중기의 대표적 시인인 孤竹 崔慶昌(1539~1583)․玉峯 白光勳(1537~1582)․蓀谷 李達(1539~1612(?))을 지칭하는데, 이들은 공통된 시적 성향을 지녔을 뿐만 아니라 상호간에 밀접한 교유관계를 지니고 있었다. 友情과 友道를 관념적 도덕의식으로 규정하고 있었던 조선 중기 사회에서 시를 통해 진솔한 인간 정서를 표현하고자 했던 삼당시인의 교유 관계를 확인하고, 시속에 구현된 이들의 정서를 살펴보고자 하는 것은 관념적 지향으로 轉化된 우정이 문학 작품 속에서도 그 관념성을 온전히 유지할 수 있었는가에 대한 확인 작업으로 일정한 의미를 지닐 것이라고 생각한다. 삼당시인 상호간에 주고받은 시를 살펴보면 대부분 이별과 그리움의 정조로 가득 차 있다. 삼당 사이의 교유시가 보여주는 이런 성향은 이들에게 벗이란 언제나 그리움의 대상으로 존재했었다는 것을 의미한다. 벗이 그리움의 대상으로 존재한다는 것은 벗과의 관계가 情을 중심으로 형성되어 있었음을 보여주는 것이다. 이는 조선 중기 관념적 도덕의식으로 정의되고 있었던 友道와 상당한 거리가 있다. 삼당에게 벗이란 자신의 덕을 기르고 인을 채우는 도덕적 동반자가 아니라 자신과 마음을 나누고 정을 키울 수 있는 정서적 대상이었다고 볼 수 있다. 도덕적 동반자라고 해서 마음을 나누거나 정을 키울 수 있는 대상이 되지 않는 것은 아니다. 하지만, 벗을 도덕적 동반자라고 규정하였을 때와 정서적 대상으로 인지하였을 때 벗을 대하는 의식이 같을 수는 없다. 그리고 그 벗을 그리워하고 기다리는 행위 역시 동일한 선상에서 논하기 어렵다. 도덕적 동반자의 필요 이유는 수양을 위한 것이지만, 정서적 대상의 존재 이유는 안식이기 때문이다. 삼당 상호간 주고받은 시를 살펴보면 삼당에게 서로는 정서적 대상이었다고 생각된다. 이 정서적 대상에게 서로가 자신의 정을 전하기 위해 사용한 것이 시였다. 따라서 삼당의 시에서는 벗을 기다리는 애절한 그리움이 그대로 묻어 나온다. 이그리움은 당대의 관념적 도덕의식을 벗어나는 것이다. 하지만, 관념적 도덕의식으로 규정하기 어려운 현실의 삶 속에서 인간적 정서를 추구했던 당대의 대표적 시인삼당에게는 당연한 것이 아닐까 생각한다. This letter is trying to check the emotional exposure for each other in the poems that written by Samdang school poets representing the middle of Chosun. Samdang school poets stand for the representative literary in the middle of Chosun Kojook Choi Kyeong-Chang(1539~1583), Okbong Baek Kwang- Hoon(1537~1582), Songok Lee Dal(1539~1612), and they have very similar inclination in poetry and achievement and also has very close relationship each others. Seeing the relationship between Samdang school poets who tried to show the sincere people's emotional feeling in the middle of Chosun prescribing friendship and the reason making a friend as ideal moral consciousness, and looking around their emotional feeling in their poems to see the ideality changed from the friendship in the literary works that can be maintained. By the way, it is confirmed that the poems that exchanged between Samdang school poets are fully covered by the separation and sentiment of yearning. This is showing that friend meaning for them is always meaning yearning. Friend being existing as yearning is showing the meaning that the relationship with friend is mainly builded up by sentiment. This is far distance from the reason making a friend considered as ideal moral consciousness. Friend meaning by Samdang is not a company to study morality and benevolence but the emotional object can share the mind and build up the sentiment. It is not saying that morality company can't share the mind or build up the sentiment, but the thinking for the friend stand for the moral company and recognize as emotional object can't be same. And it is hard to say the yearning and waiting are all same. The necessary of the morality company is for training, but the reason that existing emotional object is for rest. While seeing the exchanged poems between Samdang, Samdang are considered as emotional object for each others. The poems are used to let others know their yearning to each others. So the pathetic yearning for each others are easily shown in their poems. This yearning is quite far from the ideal moral consciousness in their time. But for Samdang representing poets in their age and pursuing humanly feeling in the rality being hard to prescribing the ideal moral consciousness, it might be natural.

기내시(寄內詩)의 맥락에서 본 백광훈의 「용강사(龍江詞)」

정민 ( Min Jung ) 한국고전여성문학회 2002 한국고전여성문학연구 Vol.0 No.5

16-17세기의 시사(詩社)와 아집(雅集) 『용성창수집(龍城唱酬集)』 연구 -이본 소개를 겸하여

박종우 ( Jong Woo Park ) 우리한문학회 2011 漢文學報 Vol.25 No.-

This paper is a study of a newly discovered edition of Yongseong changsujip 龍城唱酬集(a collection of poems exchanged between Yim Je and other famous poets in Namwon). It examines the possibility of making the standard edition through collating of the new version with previous ones. Ultimately, it considers the significance of the collection in Korean literary history. The collection had been cited only in fragments in individual poets` collections. Its whole scale and coverage remains unknown until some poems were known in 1997 and several editions were additionally available, but there were still unsolved problems, such as typos, mistakes of the authorship, the arrangement of poems. The new edition arranges poems properly based on the convention of poetry exchange, and so it solves editorial problems. It is therefore to be regarded as a valid variant of the collection. The literary significant of the collection is situated in the growing culture of poetry exchange occurring during the 17th century. I suggests that its compilation was influenced by poetry meetings and inscriptions written for towers or pavilions. In the collection, poems were written by poets in Cheolla Province; they had Neo-Confucian perspective on literature but their poems were imaginative and inspirational. They were immersed in appreciating the beauty of landscape and waterscape, and they fully expressed their emotion. In other words, they developed poetic individuality and various sentiments even when the stern atmosphere of Neo-Confucianism prevailed. Hence, they could make a new poetic achievement.

‘四王의 亂’ 이후 德宗의 藩鎭政策

鄭炳俊(Cheong, Byung Jun) 중국고중세사학회 2020 중국고중세사연구 Vol.58 No.-