白光勳 漢詩에 나타난 공간 이미지 분석

김금숙(Kim Gum-suk) 중앙어문학회 2008 語文論集 Vol.38 No.-

Okbong(玉峯) Baek Gwang-hun(白光勳) is the poet to lead the switch to 16th century Dang poetry characteristics(唐詩風). I tried to analyze about the space image of Baek Gwang-hun(白光勳)'s Chinese poetry(漢詩) in this paper. It is the place which the space to be represented at Baek Gwang-hun(白光勳)'s poem has the door. The space can be the house to do the life. In other words the space can be the heart of a metaphor meaning. Anyway the door is the border line to share the outside with the inside. The door in the space to be represented at Baek Gwang-hun(白光勳)'s poem shut mostly. This expresses a loneliness of the poet. The poet longs for the hometown. He wants to return to the hometown. The hometown is the place which he always wishes. The homesickness is a custom expression in Chinese poetry(漢詩). But it is different sentiment to be represented at Baek Gwang-hun(白光勳)'s poem. It is actual feeling than a custom expression. The hometown is the space which Relationship and Communication are possible. He longs for his friends. The hometown is the place for him to want to go. The hometown is the place which Communication is possible which people do together. At the same time the hometown is spiritual place in his poetry.

『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.

백광훈 시 ‘석양’ 이미지의 시어 구성 양상

김영국 ( Kim Young-kook ) 한국시가문화학회(구 한국고시가문화학회) 2018 한국시가문화연구 Vol.0 No.42

백광훈(1537-1582) 시의 우점은 평범한 시어의 압운에 따른 미적 포치를 통해 짧은 절구에 자신의 청신한 정서를 고담하게 담아낸 데 있다. 이는 정과 경이 하나로 융합된 이미지를 찾아 짧은 절구에 함축시킴으로써 가능하였다. 이 연구에서는 기존 연구에서 시도된 적이 없는 수사 형식의 분석을 시도하였다. 백광훈은 같은 시료일지라도 분위기나 상황에 따라 적의하게 조사함으로써 절구를 보다 아름답고 자연스럽게 표현하였다. 아울러 함축을 통한 유원함을 추구하여 이미지가 상징적으로 해석되어지고 깊은 여운을 남기게 하였다. 백광훈은 풍부한 당시 표현 역량으로 ‘낙일’, ‘모’, ‘만’, ‘석양’ 등을 시구 속에 적절하게 조사하여 무상, 산수전원의 閑情, 無奈의 서글픔, 한없는 그리움의 ‘석양’ 이미지를 함축시키고, 칠언절구의 기본 구형인 4자/3자 구성에서 ‘석양’, ‘낙일’이 쪼개지지 않게 조사하면서 앞 2자와 뒤 3자를 연결하는 ‘석양’ 이미지를 써 뛰어난 시적 미감을 완성시켰다. Paek Gwang-hun(1537-1582) calmly expressed his original emotion in short wordings of poetry through an aesthetic porch according to rhymes. He converged images of feeling with scenery to achieve his poetic intention. This study intended to analyse rhetorical types he used in his poetry that have never been examined in existing studies. Paek Gwang-hun used materials for poetry properly according to situations and conditions to express quatrain more beautifully and naturally. In addition, as he pursued for eternal images through implication, he made the images interpreted symbolically and have deep aftereffects. He used words of setting sun, an angle, a bay and sunset in his poetry to imply “setting sun” image of transiency, calmness of hills, rivers, fields, sorrow and endless missing. He arranged words of ‘setting sun’ and ‘sunset’ without spill in the structure of four words and three words, a fundamental wording type of a quatrain with seven words to a line and used the ‘setting sun’ image that connected two letters as the head with three letters as the tail to accomplish poetic aesthetics.

옥봉 백광훈과 호남시단의 교유

김종서 ( Jong Seo Kim ) 한국한시학회 2002 韓國漢詩硏究 Vol.10 No.-

기내시(寄內詩)의 맥락에서 본 백광훈의 「용강사(龍江詞)」

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

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.

삼당시인(三唐詩人)의 선계동경(仙界憧憬)에 대한 소고

조영임 ( Young Im Cho ) 한국한시학회 2004 韓國漢詩硏究 Vol.12 No.-

『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.

당풍(唐風) 수용기 정용(鄭鎔)의 한시(漢詩)에 대한 고찰 -시선집(詩選集)에 수록된 작품을 중심으로

박용만 ( Park Yong-man ) 한국한시학회 2016 韓國漢詩硏究 Vol.24 No.-

The appearance of Chinese poems of the Tang Dynasty style by three poets in the Joseon Dynasty(三唐詩) that accepted the Tang poetry during its flourishing period(盛唐詩) became the turning point of Korean literary history. Trends of new tendencies in literary history cannot be done by several writers` efforts and model(典範)`s logic and directivity get to settle in the process that many poets who are active then associate with each other and participate. However, except the three poets who wrote the Tang Dynasty`s Chinese poem styles, discussion on several poets who were active in this period are desperately lacking. Joeng Yong(鄭鎔) is the figure who participated in the period that the three poets who wrote the Tang Dynasty`s Chinese poem styles were active as the poet who has never been known to us in the meanwhile. He devoted himself to writing his poems by communing with nature without entering government service despite the background of his distinguished family and economic affluence as the descendant of Jeong Mi-su(鄭眉壽) who was raised to Haepyeongbuwongun(海平府院君) as Jeonggukgongsin(靖國功臣). He did not leave many works of art. However, he can be evaluated to account for a considerable proportion of the period as Heo Gyun put his 6 poems in Gukjosisan(國朝詩刪) and included stores about his poems in Haksanchodam(鶴山樵談) and Seongsobugo(惺所覆?藁) by thinking highly of him. He expressed his thoughts by accepting the Tang Dynasty`s Chinese poem styles. Sometimes, he shows unpracticed works of art. However, his works of art usually feature simple expressions of the scenery of the seasons around him and his mind and thought as he gave preference to quatrain forms. Heo Gyun introduced his partial works of art about the vast and ornate scenery written by him because of a kind of spells that he felt a disposition to do them(詩魔) to people. It is clear that they were written by Jeong, Yong`s mouth even though they are not linked to his other works of art about the simple scenery. Jeong, Yong`s light and simple Chinese poems can somewhat be meaningful from an angle that the Tang Dynasty`s Chinese poem styles settled and were popular in the middle of the Jonseon Dynasty. In addition, discussion on various poetical styles by many poets who were not known then will be a clue to understand acceptance of the Tang Dynasty`s Chinese poem styles widely.

『국조시산(國朝詩刪)』의 평어 연구 -삼당시인(三唐詩人)의 한시를 중심으로

강석중 ( Kang Suk-jung ) 한국한시학회 2016 韓國漢詩硏究 Vol.24 No.-

Gukjosisan is an anthology compiled in 1607 by Heo Gyun(1569-1618) who is regarded as one of the best literature critics in the Joseon Dynasty with the selected poems in various styles from early Joseon to his time. Since Heo Gyun was executed in relation to a plot of treason, Gukjosisan had been passed on in the hand-copied manner until 1695 when it was organized and published through the woodblock printing by Pak Tae-sun(1653-1704). Gukjosisan is not only famous for its fairness in the selection of poems but also helpful for the readers to understand by adding pertinent critique(bi and pyeong) and the reason for the selection for each poem. Hand-copied Gukjosisan includes additional critiques that are missing in the woodblock anthology so that we can get a glimpse of Heo Gyun`s attitude toward selected poems. As previous studies pointed out, Heo Gyun highly praised Tang poems and was critical about Song poems, and was recognized as notifying the contribution of Three Tang Poets who made Tang style popular in the mid Joseon. When Heo Gyun compiled Gukjosisan, he included 103 poems under 95 titles of Three Tang Poets, 95 among which he added critiques. While his criticism(bi) mainly dealt with aesthetics and background of the artworks as whole, his criticism(pyeong) mainly discussed aesthetics of certain lines. However, as it is difficult to clearly differentiate bi and pyeong, and there is no distinction of them in the hand-copied anthology, it is not certain whether Heo Gyun himself made the distinction or Pak Tae-sun did in the process of woodblock printing compilation. Anyhow those critiques can be classified into; aesthetics of the works with style terminology; relations to certain styles; appreciation of the works with the phrases from previous books; backgrounds or meanings of the poems and the public evaluation of them, and the first three critiques are clearly found in the poems of Three Tang Poets. In the aesthetics of the works with style terminology, phrases showing each poet`s unique sense of aesthetics are suggested. The relations to certain styles, mainly to Tang poems, are composed of impressions on the works as whole and certain poets` styles. Finally in the appreciation of the works with the phrases from previous books; words of criticism are mostly borrowed from Seseolsineo and its revised edition Seseolsineobo, and used for the metaphorical evaluation of the poems without much escaping the original meanings.