文人畵論에 나타난 人品의 儒家哲學的 考察

An Investigation into Personality From the Viewpoint of Confucian Philosophy As Shown In the Theory of Literary Painting

文人畵를 문인의 그림이라고 최초로 언급한 사람은 明代의 董其昌이라고 본다. 董其昌은 화가들을 지리적으로 남과 북으로 나누어 南宗畵와 北宗畵로 나누었는데 흔히 南宗畵는 文人畵라고 말하고, 北宗畵는 화원들의 그림을 뜻하는 院体畵라고 말한다. 董其昌은 당대 王維를 南宗畵의 창시자로 본다. 文人畵는 문인, 사대부의 회화로서, 민간과 궁정화원의 회화와 구분하기 때문에 이와 같은 文人畵를 또 士人畵, 士夫畵, 士大夫畵라고 한다. 본고는 먼저 德上藝下論과 도를 담고 있는 도구(器)로서의 회화는 인품과 화품이 연결될 수 있는 고리 역할을 하였음을 고찰하였다. 다음 인품이 높은 것이 기운이 생동하는 것과 관련이 있음을 고찰하였다. 그리고 인품을 높이고 기운이 생동하게 하는 방법론으로 讀萬卷書와 行萬里路를 통하여 고찰하였다. 讀萬卷書 하고 行萬里路 하면 明理, 俗氣 제거, 養性의 세 가지 측면의 효용성이 있음을 알 수 있었다. 그리고 기운이 생동하여 형사를 넘어서 존재하는 生生不窮하는 세계를 한 폭의 종이에 담으려면 讀萬卷書, 行萬里路를 해야 함을 알 수 있었다. 이같은 사유에 입각한 文人畵家들은 기본적으로 士氣와 逸格을 旗幟로 삼아 形似의 脫略과 함께 神韻을 강조하고 필묵의 情趣를 강구하면서, 水墨, 寫意 등의 기법을 통하여 畵中의 意境을 표현하는데 주목하였다. 회화가 전승됨은 오래되었고, 또 시대마다 명가가 있어 그 격은 인품에 따라서 달랐다. 하지만 그 생평을 고찰하면 대부분 고상한 인품의 선비였다. 결국 인품을 강조하는 것은 인품이 높은 사람이 기운 생동하는 그림을 그릴 수 있기 때문이다. 이러한 기운은 우주론적으로 보면 생생불궁하는 자연의 眞氣이기도 하다. 이와 같은 인품에 바탕한 기운이 생동하는 그림은 형사적 차원을 넘어서며, 그런 작품을 명품이라고 평가하는 것이다. 이런 점을 볼 때 문인화가들은 인품과 화품은 다른 것이 아니라고 여긴 점을 알 수 있었다.

Tung Ch'ich'ang in Ming first mentioned that a literary painting is a painting of a literary man. He divided painters geographically into Southern and Northern ones, which led to the division of a painting into the one of the Southern school and the one of the Northern school. The former is usually called a literary painting and the latter imperial-court decorative painting that means painters’ painting. He saw Wang Wei in Tang as the founder for a painting of the Southern school. A literary painting as the one of a literary man and the one of a man of noble birth is also called the one of a classical scholar and the one of a man of noble birth because it is distinguished from civilian and court painters' paintings. First of all, this thesis investigated the theory of respecting virtue and belittling art and the painting as an instrument containing the way which played the role as a link between personality and artistic merit of a picture. Next, it investigated that high personality was related to the vivid expression of objects by containing one's own emotion, spirit and elegance. And it investigated 'reading many books and travelling much' as a methodology of heightening personality and expressing objects vividly by containing one's own emotion, spirit and elegance. 'Reading many books and travelling much' revealed utility in the three aspects such as showing the principles of things, removing worldliness and fostering nature. It was clear that 'reading many books and travelling much' were required to contain into a piece of paper the world of connecting all creatures incessantly by threading them through living mind, which exists beyond similar forms, in the technique of expressing objects vividly by containing one's own emotion, spirit and elegance. Basically under the banner of morale and great dignity the literary painters based on such thinking stressed lofty and mysterious elegance with looted similar forms and studied the artistic effect of the brush and Chinese ink, paying attention to expressing the intention in a painting through the techniques such as India ink and description of an artist's inner world as well as the external shapes of things. Painting has been handed down for a long time and the dignity of great masters in each period varied according to his or her personality. However, their daily lives showed that most of them were classical scholars of noble personality. Eventually, the emphasis on personality was due to the possibility that a man of high personality painted the painting with vividness Cosmologically, the vividness is also the pure essence of nature that connects all creatures incessantly by threading them through living mind. The painting with vividness, which is based on the personality, goes beyond similar forms, which is valued as a masterpiece. The point indicated that literary painters regarded personality and artistic merit of a picture as not different.