惕若齋 金九容 시에 나타난 唐詩風 경향과 미적특질

하정승(Ha, Jung-seung) 우리문학회 2015 우리文學硏究 Vol.0 No.46

?若齋 金九容은 13세기의 정치가였던 金方慶의 후손으로 안동김문이라는 명문가의 자제로 태어나 이른 나이에 과거에 급제하고 벼슬길에 오른 뒤 승승장구하였지만, 驪興유배와 중국 雲南유배라는 큰 시련을 겪기도 하였다. 결국에는 운남 유배 도중에 먼 이역의 땅인 四川에서 죽게 되는 비극적인 결과가 있었고, 이는 그의 시에 고스란히 담겨 있다. 특히 그는 14세기 전반기에 문명을 떨쳤던 문인인 及菴閔思平의 외손으로 어려서 급암에게 시를 배웠기에 시풍에 있어서 매우 유사한 모습을 보인다. 즉 급암시의 가장 큰 특징은 平淡ㆍ沖澹인데 척약재시에도 평담함이 그대로 나타나 있다. 평담이나 충담의 시품은 자연시 계열의 唐詩風작품들에서 흔하게 보이는 품격으로 척약재시의 전반적인 이해를 위해서는 매우 중요한 사항이다. 唐風의 시풍을 보이고 있는 척약재시에서도 평담은 閒適이나 낭만적 정서의 형태로 드러나는 경우가 많으며, 이는 결국 척약재만의 당시풍을 형성하는 데에 큰 역할을 하고 있다. 前代의 비평가들은 대체로 척약재시의 특징을 淸新ㆍ雅麗ㆍ淸贍등의 詩品으로 비평하고 있다. 사실 이 비평어들은 모두 당시풍 시에서 두드러지게 나타나는 시품들이다. 청신·청섬 등 청자계 시품은 당시와 밀접한 관련이 있고, 雅麗는 典雅·綺麗의 줄임말로 뜻과 표현력이 아름다운 시문의 품격을 의미하는데 이 또한 唐詩의 주요한 특징이기도 하다. 14세기 고려후기의 한시사에서 김구용은 洪侃, 鄭?, 정몽주, 이숭인과 더불어 당시풍의 한시 창작을 주도했던 인물이다. 14세기 고려문단의 당시풍 詩作은 멀리는 신라하대 崔致遠으로 거슬러 올라가고, 가까이는 12세기의 鄭知常과 13세기의 李奎報, 陳?를 계승하였다는 문학사적 의미가 있다. 김구용의 시는 동시대 시인들 중에서도 정포나 이숭인의 매우 감각적인 당풍적 시풍과는 구별되는 척약재만의 낭만적인 독특한 시풍을 보여준다. 척약재 등이 추구했던 고려후기의 이러한 시풍은 조선초에도 그대로 이어져 선초의 成任같은 만당풍을 추구했던 시인들에게 일정한 영향을 주었다고 판단된다. Chukyakjae-Kim Guyoung(金九容) is a descendant of Kim Bangkyung, politician in the 13th century and a man out of the Kims of Andong. He passed the civil service examination and found success at an early age, but he died in Sacheon on his way Unnam to be sent into exile. His poetical style is similar to Gubam-Min Sapyong’s because he learned creation of poetry from Gubam who is his maternal grandfather and famous poet in the 14th century. The best features of Gubam’s poetry are Pyongdam(平淡)ㆍChungdam(沖澹), which permeated Chukyakjae’s poetry. Pyongdam(平淡) or Chungdam(沖澹) is major dignity of Tang’s poetical style and importanr factor to understand Chukyakjae’s poetry. Pyongdam(平淡) is appeared as Hanjeok(閒適) or romantic emotion and eventually played a important role in forming Tang’s poetical style in Chukyakjae’s poetry. The critics in previous generation defined the characteristic of Chukyakjae’s poetry as the dignity of poetry-Chungsin(淸新)ㆍ Aryo(雅麗)ㆍChungsum(淸贍). These three characteristics are the dignity of poetry in Tang’s poetical style. Chungsin(淸新) and Chungsum(淸贍) are linked closely to Tang’s poetry. Aryo(雅麗) is short for “Juna(典雅)ㆍKiryo(綺麗)”, which means the dignity of beautiful poetry. This is also the characteristic of Tang’s poetry. Along with Jung Po(鄭?), Jung Mongju(鄭夢周) and Lee Sungin(李崇仁), Kim Guyoung leaded creative activity of poetry with Tang’s poetical style in the history of Korean Chinese poetry of late Goryeo dynasty. Writing poetry with Tang’s poetical style in the literary world of the 14th century is traced back to Choi Chiwon of late Shilla, Jung Jisang of the 12th century, and Lee Kyobo·Jin Hwa of the 13th century. Poetry of Kim Guyoung shows the unique style of poetry distinguished from the sensitive poetry of Jung Po or Lee Sungin with Tang’s poetical style. Chukyakjae’s poetical style handed down to poet of Chosun Dynasty. It influenced not only Sung Im(成任) of early Chosun who pursued the Late Tang’s Poetical style but also writing poetry with Tang’s Poetical style of Three Great Poets in the 16·17th century.

정몽주(鄭夢周) 시에 나타난 당시풍(唐詩風) 경향과 미적특질

하정승(Ha, Jung-Seung) 포은학회 2014 포은학연구 Vol.14 No.-

한국의 한시사에서 고려후기는 당시풍(唐詩風)과 송시풍(宋詩風)이 공존하던 시기였다. 대부분의 시인들은 당풍(唐風)과 송풍(宋風)을 넘나들며 시를 지었다. 당시풍의 경우에는 신라 하대(新羅下代) 이후로 이미 국초(國初)부터 이어져온 만당풍(晩唐風)의 유미적(唯美的)인 시풍에 더하여 이백(李白)과 두보(杜甫)를 중심으로 하는 성당시(盛唐詩)와 왕유(王維) ·맹호연(孟浩然) 같은 자연시 계열의 시풍도 혼재되어 있었던 것으로 보인다. 이 시기에 당시풍 경향을 보인 대표적인 시인으로는 정포(鄭誧), 정몽주(鄭夢周), 이숭인(李崇仁), 김구용(金九容) 등을 꼽을 수 있다. 역대 시화집에서는 대체로 포은시의 주요한 특징으로 당풍(唐風)을 언급하고 있다. 당시는 시인의 감정과 감수성을 강조하기에 시가 매우 감각적이며 문학성이 뛰어난 것이 일반적인 특징이다. 포은시 역시 이같은 요소를 그대로 가지고 있다. 본고에서는 포은시에 나타난 당풍적 요소를 (1) 인생의 절망적 상처와 아픔을 노래한 애수(哀愁)에 찬 시, (2) 시각적이고 청각적인 감각을 사용하여 시인의 섬세한 감정을 다룬 시, (3) 변방(邊方)과 전장(戰場)의 고즈넉함과 쓸쓸함을 다룬 변새시(邊塞詩)풍의 시, (4) 여인의 아름다움을 제재로 하여 읊은 염정풍(艶情風)의 시, (5) 음악성을 강조한 악부체(樂府體) 시 등의 다섯 가지로 나눠서 그 각각의 특징을 살펴보았다. 특히 ‘호방(豪放)’하다고 평가되는 포은시의 품격(品格)도 그 내면을 자세히 살펴보면 당풍적인 면모와 밀접하게 연관되어 있음을 알 수 있다. 문학사적인 측면에서 보면 포은과 동시대를 살았던 시인들 중에 도은(陶隱) 이숭인과 척약재(惕若齋) 김구용의 시에도 이와 비슷한 경향이 나타난다. 특히 이들이 포은과 밀접한 교유관계를 맺고 서로 많은 시를 주고받았음을 생각할 때, 이들의 시에서 나타나는 당풍적 성격은 단순한 개인적 취향이 아니라 문단의 하나의 흐름이요 유행이었음을 알 수 있다. 이처럼 14세기 고려 시단에서 포은, 도은, 척약재가 주도했던 당시풍 시의 창작 경향은 그 후 조선조의 시인들에게 계승되었고, 결과적으로 우리 한시사에서 당풍 한시 창작의 전개와 흐름에도 상당한 영향을 주었던 것으로 판단된다. The latter part of the Goryeo Dynasty is the time when there were both the Tang’s poetical style and Song’s poetical style in the history of Korean Chinese poetry. Most of poets of the time wrote poems under the influence of both the Tang’s poetical style and Song’s poetical style The Tang’s poetical style includes different kinds of poetical styles such as aesthetic poems written in the Late Tang`s Poetical style, Sungdang-poem(盛唐詩) most written by Li Po(李白), Tu Fu(杜甫) and poems about nature most written by Wang Wei(王維)· Meng Haojan(孟浩然). The representative poets writing poems in the Tang’s poetical style are Jung Po(鄭誧), Jeong Mong-ju(鄭夢周), Lee Sung-in(李崇仁), Kim Gu-young(金九容). The anthologies of all time refer to the characteristic of Poeun’s poetry as the Tang’s poetical style. Poeun’s poetry is so sensuous and excellent in literary value under the influence of the Tang’s poetical style. The Tang’s poetical style appeared in Poeun’s poetry is divided into five requisites ; (1) poems about the pathos of sorrows of life (2) poems about his own delicate feelings of poet expressed through aural and visual images (3) poems about the lonely and quiet life on the border area and battlefield (4) poems about the longing for woman’s beauty (5) poems emphasizing musicality. In this thesis, I look at those five requisites. It turns out that the dignity of Poeun’s poetry appraised as ‘grandeur(豪放)’ is relevant to the Tang’s poetical style. In Korean traditional literary history, the poems of the age written by Lee Sung-in and Kim Ku-yong have a similar style. These three poets had mutual close exchange of opinions. That is why the Tang’s poetical style appeared in their poetry was the trend of the literary world in 14th century. This tendency of creation passed down to the poets of the Chosun Dynasty. Finally it greatly influenced creation of Chinese poetry written in the Tang`s Poetical style in the history of Korean Chinese poetry.

한국 漢詩문학에서 唐詩의 가치와 수용양상 硏究

손복 한국중국언어문화연구회 2012 한중언어문화연구 Vol.- No.28

Tang (Dynasty) poem in Chinese literary history is positioned as the supreme poem as well as the great literary and cultural heritage of China and therefore, it should not be assessed simply as a poetic genre in the history. The reason why reading and appreciating Tang poem in order to understand Chinese culture and thought is meaningful is that the background of Chinese consciousness is implied in Tang poem as China itself. In particular, Tang poem is not just limited to Chinese literature. Tang poem, as a great human cultural heritage, had also influenced over our literature directly and indirectly. And there has been a lot of controversies so far while discussing over what signifies Tang poetry style in a differentiated perspective with Song (Dynasty) poem in connection with so-called Tang poetry style that was our classic poetry following Tang poetry style. In this regard, this study reviewed a pattern as to how literary historic value and features of Tang poem had been accommodated in our Chinese poetic literature and influenced over our such literature. Poetic achievement of Tang poem that was assessed as the greatest value in Chinese literary history had underwent accommodation, transformation and development process in connection with our Chinese poem. Overall current of our Chinese poetic history had shown its own unique pattern depending on each times or poets along with their tendency of learning Chinese Tang poem or Song poem. It goes without saying that strenuous effort of our ancestors who tried to improve poetic level qualitatively of their own by modeling Chinese superior poems in advance was imbued in this issue of learning Tang (poem) or Song (poem). In our Chinese poetic history, Chinese poetry style has an aspect of having partly accommodated Chinese poetic achievements as they are or further developed them partly as well and its summary is as follows. First, our Tang poetry style succeeded poetry school mainly based on Jeol-gwi (절귀), not a verse (율시), in its style. There were a lot of poets who left master poems even in verse among the poets of early poetry school (학당) but while passing through early 16 century, as its style was gradually concentrated on Jeol-gwi in general, we could not find any outstanding works in particular in addition to Jeol-gwi. In addition, most of this Jeol-gwi was also concentrated on 7-lettered poem instead of 5-lettered poem. Second is accommodation of romantic features. Romantic features is the one that could be seen mainly in Lee, Baek’s poems in terms of the fact that it expressed poem motivated by imagination of poets, not by their experience, like unworldly expression or royal poem (궁사), Boudoir lament poem (규원시) or Frontier poem (변색시). These features could be seen conspicuously in our Chinese poetry style as time passes and it is considered that this trend may be mainly influenced by poems of Lee, Hu-baik who worshipped poems of Lee, Baek. Third is accommodation of sensual, splendid (염려) and luxurious (기미) expressions. In the early poetry school, such expression was prominent and gradually, its expression had been steadily imbued with refined and delicate touch strongly. Fourth is accommodation of introvert, static expression. This way of expression is to show poetic emotion implicitly with understated sense without directly exposing its emotion. Therefore, such poems have a tendency of naturally introvert and static pattern. As these features are elements harmonized with our emotion, it is hard to regard such elements as a specific poet’s influence. Fifth, elements like maximization of image exploitation and strengthening accustomed Tang poem and reading poem (소리 시) could be enumerated and these elements are evaluated to be a unique poetic achievement of our poetic school that was almost impossible to be found in Tang poem and an early poetic school. Learning Tang (poem) of our country had been succeeded by starting f...

설곡(雪谷) 정포(鄭誧) 시에 나타난 당시풍(唐詩風) 경향과 미적특질

하정승(Ha, Jung-Seung) 포은학회 2015 포은학연구 Vol.15 No.-

Seolgok-Jungpo is a representative poet of the latter part of the Goryeo Dynasty. His son is Wonjae-Jungchoo and his grandson is Bokjae-Jungchong. They all won literary fame and left their mark in literary history. The critics of a previous generation referred to the characteristic of Jungpo’s poetry as Chungjagye(淸字系)-Chungryo(淸麗), Seummi(纖美), Chunjul(淸絶). Chungryo(淸麗)and Chunjul(淸絶) are major dignity of Tang’s poetical style. Seummi(纖美) is also one of various dignity related to Tang’s poetical style and the characteristic of poetry written in refined and beautiful poetic word. The dignity of Jungpo’s poetry is related to his view of life. He is not interested in worldly success and honor. It is said that the poetical circles of Goryeo had been in succession to the late Silla’ poetry and had been influenced by Tang’s poetical style in early days. But the latter part of the Goryeo’s poetry was affected by Song’s poetical style. At last both poetical style coexisted in late Goryeo Dynasty. The representative poets who wrote poems in Tang’s poetical style are Honggan(洪侃), Jungpo(鄭誧), Jungmongju(鄭夢周), Anchuk(安軸), Kimguyong(金九容), Leesungin(李崇仁). It is interesting to note that their poets have dignity of Chungsin(淸新)･Chungryo(淸麗)･Chunsum(淸贍). As this fact suggests, we know that the poems written in late Goryeo Dynasty developed into poems which have the dignity of Chungjagye(淸字系) ; being in opposition to worldly success and honor. This may be because it is associated with social and political chaos of late Goryeo Dynasty. In this script, I looked at Tang’s poetical style in Jungpo’s poetry and the meaning of Tang’s poetical style in the history of literature. In addition, I inspected the development of Tang’s poetical style in the history of late Goryeo Dynasty’s literature. As a result, the tradition of Tang’s poetical style in Jungpo’s poetry-the dignity of Chungjagye(淸字系) inherited Honggan’ poetry and continue to not only Kimguyong and Leesungin’ poetry but also Samdangsiin’s poetry in the middle of the Joseon Dynasty. 설곡(雪谷) 정포(鄭誧)는 고려후기를 대표하는 시인 중 한 명이다. 그의 아들은 원재(圓齋) 정추(鄭樞)이고, 손자는 복재(復齋) 정총(鄭摠)인데 3대가 모두 문명을 떨치며 문학사에 이름을 남기고 있다. 전대의 비평가들은 정포 시의 가장 큰 특징으로 청려(淸麗), 섬미(纖美), 청절(淸絶)함을 꼽고있다. 청려･청절 등 청자계(淸字系) 시품(詩品)은 일반적으로 당시풍 한시에서 나타나는 주된 품격으로 알려져 있다. 섬미 역시 아름답고 세련된 시어의 구사와 시상의 전개에서 나오는 품격으로 당시와 관련이 깊다. 설곡시에 청자계 시품이 나타나는 것은 세속적인 물욕이나 명예와 거리를 두었던 그의 인생관과 관련이 있다. 또한 그의 선친대(先親代)부터 집안 대대로 내려오는 강직하고 꼿꼿한 선비정신도 그의 시세계 구축에 영향을 주었던 것으로 보인다. 고려의 시단은 초기에는 신라 하대를 계승하여 당시(唐詩)의 영향을 받다가 성리학이 전래된 중기 이후에는 당대(當代) 중국의 시풍을 받아들여 송시(宋詩)의 영향 하에 있었다는 것이 일반적인 통설이다. 그러나 사실은 고려후기에도 당시풍과 송시풍이 함께 공존하였다. 고려후기 문단에서 당시풍 한시 창작을 대표하는 시인들로는 홍간(洪侃), 정포(鄭誧), 안축(安軸), 정몽주(鄭夢周), 김구용(金九容), 이숭인(李崇仁) 등을 꼽을 수 있다. 그런데 이들의 시풍이 대체로 모두 청신(淸新)･청려(淸麗)･청섬(淸贍) 등의 시품인 점을 주목할 필요가 있다. 이로 보면 고려후기의 당시풍 한시 창작은 세속적 가치와 거리를 두는 청자계 시품으로 발전하고 있음을 확인할 수 있다. 이것은 고려말이라는 정치적･사회적 혼란과도 일정한 관계가 있을 것으로 생각된다. 본고에서는 고려후기 당시풍 한시 창작을 대표하는 시인이었던 정포를 통해 그의 시에 보이는 당풍적 요소가 무엇이며, 또 그같은 당풍적 시창작이 문학사에서 갖는 의미를 고찰해보았다. 더불어 고려후기 한시사에서 당시풍 한시의 전개과정이 어떻게 진행되는지도 함께 살펴보았다. 결론적으로 정포의 당시풍 시쓰기, 특히‘청자계 시품’의 전통은 선배 홍간을 이어받고, 김구용과 이숭인으로 계승되었다가 멀리는 조선조 중엽 소위 삼당시인을 비롯한 당시풍 작가들의 시쓰기로 이어진 것으로 보인다.

李崇仁시에 나타난 당시풍(唐詩風)경향과 미적특질

하정승 ( Jung Seung Ha ) 근역한문학회 2014 한문학논집(漢文學論集) 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.

전기(錢起)의 자연시 창작 경향

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2012 中國硏究 Vol.55 No.-

This article was written to study on the aspects of the Qian-Qi(錢起, 720-783)``s Landscape poetry. Qian-Qi is one of the most important Poets of Dalishicaizi in Middle Tang Dynasty. In comparison with the poems describing landscapes, gardens city sceneries in High Tang Dynasty, Qian-Qi``s poems which have the same content are lack of peace and density. The features of Qian-Qi``s Landscape poetry was in basically inherited the style of Wang-Wei``s Landscape poetry in High Tang Dynasty. The aspects of the Qian-Qi``s Landscape poetry can be summarized as that: The first, Qian-Qi``s Landscape poetry basically inherited the style of Wang-Wei``s clear and fresh style. So we can say Qian-Qi is the meson of Landscape poetry between High and Middle Tang Dynasty, but, in the other hand, it contains subjective emotion of poet and which represented the style of Middle Tang Dynasty. The second, Qian-Qi have expressed rich emotion by using abundant vocabulary in his poem. That also means he have the intense aspirations toward nature. Abundant vocabulary can provide rich emotional spray and which running through his poem, so he can pursued more clear and fresh style in his Poetry, The third, in the way of expression, Qian-Qi pursued detailed and elaborate description. This aspect can created perfect combination of stylish rhythm and sturdy, and the rhythm of Qian-Qi``s poems is concordant and orderly, on the one hand, it also can developed the poetic form of the one in High Tang Dynasty, on the other, he can marked an more unique style of Middle Tang Dynasty. At to artistic conception, narrow, diffident and manual aspect of Qian-Qi``s Landscape poetry not much showing the magnificence of the poems as in High Tang Dynasty, but it contains it``s own character of Middle Tang Dynasty. The fourth, Qian-Qi``s landscape poetry have clear and fresh style, but in the features of landscape poetry, that also contains inner world in his poetry, Most of poets of Middle Tang Dynasty experienced suffering life which comes from political environment, and Qian-Qi``s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have some of Quiet, Delicacy, Lonesome styles.

가도(賈島) 시가에 나타난 자연묘사 양상

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2015 中國硏究 Vol.63 No.-

This article was written to study on the aspects of the Jia-Dao(賈島, 779-843)``s landscape poetry. Jia-Dao was one of important poets in the school of Hanmeng(韓孟) in mid-Tang dynasty. During the mid-Tang dynasty, the aesthetic themes tradition of landscape poetry were innovated by Jia-Dao and Yao-He(姚合) and their epigone. The feature of Jia-Dao``s Landscape poetry was in basically inherited the landscape poetry in high-Tang Dynasty, but the aspects of the Jia-Dao``s Landscape poetry was developed some different direction. We can say Jia-Dao is the meson of landscape poetry between high-Tang and mid-Tang dynasty, but, in the other hand, it associated with small scale approaches in writing poem about nature scenery and which represented one of the style of mid-Tang Dynasty. I can be summarized the distinct characteristic of his poem as that : The first, In Jia-Dao``s poems, he had concentrated his emotion by using rather sterile and bitter expressions in comparison with other poet. That, in some aspect, means he had intense feeling and passion in his inner world. Most of poets of mid-Tang dynasty experienced suffering life which comes from political environment, and Jia-Dao``s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have more sterile and bitter emotion. The second, In Jia-Dao``s poems, we can also find that his landscape poetry have clear and elegant style, and much of his landscape poetry was already gone through the process of extreme training by writing poem. So we can say that the aspect of his landscape poetry``s clear and elegant style contains much of his effort. The third, Jia-Dao``s landscape poetry basically seek the small subject of nature, and pursuit detailed description. In the way of expression, Jia-Dao pursued fresh and elaborate description. This aspect can created fine expressions, on the one hand, he can marked an more unique style of mid-Tang dynasty. At to artistic conception, narrow and small, detailed aspects of Jia-Dao``s landscape poetry not much showing the magnificence of the poems as in high-Tang dynasty, but it contains it``s own character of mid-Tang dynasty.

A Study on the Tang Shi`s Art of Poem Creation

이문군 ( Wen Jun Lee ) 아시아.유럽미래학회 2011 유라시아연구 Vol.8 No.2

Tang Shi`s poetry describes with such beauty the integration of Chinese and Western poetry and individual pursuit. The poet has been respected with his personal styles for a long time. Tang Shi said: The poet is the highest ideal of law, regardless of who he is, the totally consistent and complete sublimation of life experiences for literary experience, no waste, only the pure truth. (Tang Shi: Cindy <hand sets> contained poetry to create 1948) This is a fusion of the boundaries of subject and object devoid of a Transformation. Here, Tang Shi regarded the fusion state as the highest ideal of the poet, among his 1,111 kinds of basic poetic ideas. Fusion exists in a relationship, an artistic relationship between the various components of the interaction between networks. Tang Shi`s poetic images in the discussion are related to the relationship. From the relationship between image and poetic image, the image is of course not the decorations. The poetic image is not a shape, but it should be a sense of inner spirit and integration. From the relationship between the poet and the objective view of the world, the image is the presence of the poet`s real consideration of the objective world; on the other hand, the objective world is gathered in the poet`s mind. The relationship between the objective view of the world and the poet image forms the structure of human spirit. Image is produced from the most sober of mind and the most pious soul which interact together (Tang Shi: On the image contained in Spring 1948 No. 1). Between the poet and the objective view of the world, all the relationships are connected, and the integration state indicates a relationship of aesthetic state. In his poetry and poetic practice as well as the poetic ideas of fusion, Tang Shi said that he would like to try to fuse Chinese Classical and Modern Poetry with foreign poetry systematically. (New degree of set in the My Poetic Art.) Tang Shi`s attempt was very successful. His fusion of Chinese and foreign Poetics was commented by Mr Qian`s praise, while he formed his own fusion style of Chinese and Western criticism. Tang Shi also integrated the implementation of poetic ideas in his own practice of poetry, and strived to integrate them with modern style. Tang Shi`s poem has classical beauty and modern Chinese cultural characteristics: beautiful words, delicate emotions, moving stories, uplifting warm, rich imagination, and so on. Also it has a modern Western characterization of the United States: a sonnet form, dramatic means, charming Italian deep thoughts, and so on. Through the perfect fusion of Chinese and Western art of poetry, his poem constitutes Qing Tang`s aesthetic features. It is also a manifestation of his poetic personality.

中唐 劉言史 시가에 나타난 자연 묘사 특징 고찰

배다니엘(Bae, Daniel) 한국중어중문학회 2016 中語中文學 Vol.0 No.66

This article was written to study on the aspects of the Liu-Yanshi(劉言史, 742?-812)’s landscape poetry. Liu-Yanshi was one of important poets in mid-Tang dynasty. During the mid-Tang dynasty, the aesthetic themes tradition of landscape poetry were innovated by Meng-Jiao(孟郊), Jia-Dao(賈島), Yao-He(姚合) and their epigone. The feature of Liu-Yanshi’s Landscape poetry was partially influenced by the landscape poetry of Hanmengshipai(韓孟詩派) in mid-Tang Dynasty, but the aspects of the Liu-Yanshi’s Landscape poetry was developed some different direction. We can say Liu-Yanshi is the meson of landscape poetry between Meng-Jiao(孟郊) and Li-He(李賀) in mid-Tang dynasty, but, in the other hand, it associated with characteristic approaches in writing poem about nature scenery and which represented one of the style of mid-Tang Dynasty. I can be summarized the distinct characteristic of his poem as that : The first, In Liu-Yanshi’s poems, he had concentrated his emotion by writing various nature scenery that contained bitter experience of hi life. Most of poets of mid-Tang dynasty experienced suffering life which comes from political environment, and Liu-Yanshi’s government process was not very successful, so his landscape poetry was also a part of the expression of his life, and the experience of demotion can be offered his landscape poetry have more susceptive and bitter emotion. The second, In Liu-Yanshi’s poems, we can also find that his landscape poetry have subjective style, and much of his landscape poetry has a way of expressing himself that is all his own through the process of his own experience and extreme training by writing poem. So we can say that the aspect of his landscape poetry’s unique style contains much of his effort. The third, Liu-Yansh basically seek after the rest of mind, and longed retirement in nature. Actually he did not put in practice retirement in nature, but the expression of longing retirement was important subject of his poem.

요합(姚合) 시가에 나타난 자연묘사 양상

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2013 中國硏究 Vol.59 No.-

This article was written to study on the aspects of the Yao-He (姚合, 779?-846?)`s landscape poetry. Yao-He was one of important poets in the school of Hanmeng(韓孟) in mid-Tang dynasty. During the mid-Tang dynasty, the aesthetic theme tradition of landscape poetry were innovated by Yao-He and Jia-Dao and their epigone. The features of Yao-He`s Landscape poetry was in basically inherited the landscape poetry in high-Tang Dynasty, but the aspects of the Yao-He`s Landscape poetry was developed some different direction. I can be summarized the distinct characteristic of his poem as that: The first, Yao-He`s landscape poetry basically seek the small subject of nature, and pursuit detailed description. We can say Yao-He is the meson of landscape poetry between high-Tang and mid-Tang dynasty, but, in the other hand, it associated with small scale approaches in writing poem about nature scenery and which represented one of the style of mid-Tang Dynasty. The second, In Yao-He`s poems, he had concentrated his rich emotion by using rather small spaces comparison with other poet. That, in some aspect, means he had intense feeling and passion in his inner world. Most of poets of mid-Tang dynasty experienced suffering life which comes from political environment, and Yao-He`s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have some of small spaces and view point. The third, in the way of expression, Yao-He pursued fresh and elaborate description. This aspect can created fine expressions, on the one hand, he can marked an more unique style of mid-Tang dynasty. At to artistic conception, narrow and small, detailed aspects of Yao-He`s landscape poetry not much showing the magnificence of the poems as in high-Tang dynasty, but it contains it`s own character of mid-Tang dynasty. After Song dynasty, more critics regarded Yao-He and Jia-Dao as successor of Chinese aesthetic theme on landscape poetry.