淺析朝鮮文人對蘇軾題畫詩的受容與意義

Brief Analysis of the Korean Literati's Acceptance and Significance of Su Shi's Painting Poems: Centering on Chinese poems

조선 문인의 蘇軾의 題畫詩 수용 방식은 주로 次韻과 활용이다. 차운으로 된 蘇詩의 주류 수용 방식과는 달리, 소식의 題畫詩에 대한 수용은 시구의 활용에서 뚜렷이 드러나며 ‘활용을 주로 하고 차운을 부로 한다.’는 특징을 띠고 있다. 또 그밖에 ‘和蘇詩’이 택한 ‘동일화’ 수용의 방향 보다 蘇軾의 題畫詩 활용이 더 다원적인 면모를 잘 보여준다. 서화를 대상으로 하는 題畫詩는 저명한 서화 작품을 언급하며 시인의 심미 취향을 드러내고 서화 이론을 담았기 때문에, 특별한 미학적 가치와 의미를 갖추고 있다. 한편 시대적인 한계로 인해 서화 작품의 전입과 유통이 상당히 국한되어 있던 조선 시대에 있어 蘇軾의 題畫詩에 대한 수용이 곧 서화 지식을 학습하는 중요한 방식이 되었다. 이에 蘇軾의 題畫詩에 대한 수용의 의의는 서화에 관한 用事를 넓히고 서화 명작을 숙지함에 있다. 조선 한시에 수용된 蘇軾의 題畫詩의 用事는 23건이나 되며, 서화 명가ㆍ서화 일화ㆍ서화 이론 등 다양한 내용을 포함하고 있다. 특히 주목할 만한 점은 일부 用事가 蘇軾이 題畫詩에 최초로 사용한 창의적인 用事라는 데 있다. 이런 창의적인 用事에 대한 수용은 조선 문인의 한시 창작의 소재를 크게 넓혔다. 한편 시대적인 한계로 인해 중국의 서화 작품을 쉽게 접할 수 없었던 조선 문인에게 있어 대량의 서화 작품을 다룬 蘇軾 題畫詩는 곧 서화 작품을 알아보고 관련 지식을 학습하는 중요한 방식이 되었다. 그러므로 蘇軾 題畫詩를 통해 조선 문인들 사이에서 ‘王晉卿의 산수’ㆍ‘趙昌의 花草’ㆍ‘文同의 墨竹’ㆍ‘郭熙의 秋景’ㆍ‘韓幹의 말’, 그리고 ｢青李來禽帖｣ㆍ｢煙江疊嶂圖｣ 등 서화 명작이 널리 알려지게 된 것이다.

There are two main ways for Korean literati to accept Su Shi's painting poems: second rhymes and verse conversion. Different from the “mainstream” receptivity of Su's poems, which mainly focuses on the “secondary rhyme and poem”, the receptivity of his painting poems is concentrated in the use of poems, which reflects the special characteristics of “secondary rhyme is mainly supplemented and used”. Different from the “same” acceptance direction chosen by other “He-Su poems”, the acceptance range of his painting poems, especially the use of the poems in painting poems, is very wide. Taking painting and calligraphy as the object of inscription determines that the painting poems must involve famous painting and calligraphy works, which reflects the author's aesthetic tendency and indicates the author's theoretical viewpoint. These characteristics give painting poems different value and significance from other poems. Especially the circulation and dissemination of calligraphy and painting works is very limited in the Korean era, the tolerance of Sushi's painting poems has an irreplaceable role in the construction of the knowledge of Korean literati painting and calligraphy along with the improvement of calligraphy and painting cultivation, so the significance of his painting poems tolerance is mainly reflected in the rich use of allusions and skilled painting and calligraphy. There are as many as 23 allusions from 84 poems of Su Shi. The allusions in his painting poems involve famous painters, anecdotes of celebrities, literary works and folklore. Among them, the most noteworthy is that quite a number of allusions have been used for the first time in his poems (painting poems), and the acceptance of such allusionshas greatly enriched the accumulation of materials for the Creation of Chinese poems by Korean literati. In the era when the purchase and circulation of expensive and rare paintings and calligraphic works were very limited, poems and articles themed on paintings and calligraphy became the main way for Korean literati to improve their calligraphy and painting, especially the poems on paintings by Su Shi, which involved a large number of paintings and calligraphy works. Although it is not possible to directly appreciate famous paintings and calligraphy, his painting poems with rich themes and vivid descriptions can reappear the beauty of many famous paintings and calligraphy for Korean literati, then indirectly meet their thirst for famous paintings and calligraphy. “Wang Jinqing Landscape”, “Zhao Chang Flowers and Plants”, “Ink Bamboo”, “Guo Xi Autumn Scenery”, “Han Ganma” and “Green Li Lai Bird Post”, “Smoke River Dizhang Map” famous paintings by Su Shi painting poem title media are familiar with the Korean literati, which promotes the construction of painting knowledge and indirectly being influenced by the painting.