향파 이주홍 書畵의 미학적 고찰 = Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting

국문 초록 (Abstract)

본고는 경상남도 합천에서 태어나 부산에서 활동한, 문학가요 교육자이면서 예술가였던 向破 李周洪(1906-1987)의 서예 및 詩畵에 관한 연구이다. 그는 80여 년의 생애를 일제 통치와 한국전쟁을 겪으며 갖은 患亂을 체험하여, 어려웠던 삶들을 그의 문학과 예술의 다양한 장르에 인간의 고뇌와 근원적 본질을 풀어 놓았다. 그는 부산의 국립 부경대학교의 전신인 水産대학교 국어과 교수로 평생 봉직하며 학생들에게 문화예술을 선도하였고, 시ㆍ소설ㆍ수필ㆍ희곡ㆍ평론 외에도 동시ㆍ동화ㆍ소년소설, 서화ㆍ민화ㆍ만화ㆍ裝幀, 연극연출 등 다양한 장르를 오가며 예술활동을 펼친 종합 예술가로, 문학작품집ㆍ번역집 등의 저작이 200여 권에 이른다.
향파 이주홍의 서화에 관한 분석과 고찰을 ‘서화의 문예적 소통미학’과 ‘서예의 正統的 동양미학’으로 분류하였다. ‘서화의 문예적 소통미학’에서 정리된 ‘소박미’, ‘해학미’, ‘자연미’ 등은, 향파의 시와 그림과 글씨에서 유기적으로 연계되는 심미 情感이 창작과 감상의 일체적 공감으로 소통되고 있다. 또 소박하고 해학적이며 자연 친화적인 작품에서 복잡한 마음들이 치유되는 소통미학이 되고 있음을 밝혔다. ‘서예의 正統的 동양미학’에서는 담박하고 온화하여 웃는 듯한 아름다움인 澹冶如笑美, ‘유와 무가 서로를 낳는(生) 효과인 有無相生美, 단정하면서도 장엄한 기운을 流麗한 필치로 표현한 端莊流麗美, 平淡하지만 물리게 하지 않는 淡而不厭美, 속박 없이 본성에 충실하면서 호방함이 극에 달하는 豪放野逸美로 정리하였다. 그는 문학의 여러 장르, 여러 부문의 예술을 驅使하였는데, 서예에서도 多種多樣한 실험적인 작품을 시도하여, 서예의 새로운 양식과 방법을 創新하였다고 평가할 수 있다. 또 향파 예술의 저변에 흐르고 있는, ‘공자의 人本主義’와 ‘장자의 생명적 자유’를 수반하는 人文的ㆍ藝術的ㆍ審美的 정서가 그의 문학관ㆍ예술관ㆍ인생관이 되어, 향파 書畵예술에 絢爛하게 나타나고 있음을 규명하였다.

다국어 초록 (Multilingual Abstract)

Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.