조선 후기 善息齋 鄭持淳 畫論의 心學的 경향 연구

A Study on the Painting Theory of Jeong Ji-soon in Relation to the Yamg-ming Philosophy

조선 후기는 溫柔敦厚함을 담아내야 하는 유가의 사유의 틀 속에서 억압된 진심을 회복하고자 한 陽明心學적 사유의 정착과 심 중시의 새로운 예술관 및 회화관이 배태된 시기였으며, 양명심학적 사유가 뚜렷한 少論계 문인의 회화인식을 중심으로 확산되는 경향이 농후했다. 이러한 경향은 소론계 문인들의 사유와 현실 인식론에 영향을 미쳐 매우 신축적이면서 유연한 사고를 견지하고 있었고, 自得적 창작이론을 주장하면서 개인정서와 개성을 중시하였다. 이러한 맥락에서 소론계 문인 정지순은 창작의 주요전제로 心과 理의 중시, 吾心 및 主體心으로의 회복과 전환을 촉진시켜 미의식의 폭을 넓히고 새로운 심미적 성찰의 계기를 마련했다.

The late Joseon Dynasty was a time when Yangming Simhak's way of thinking, which sought to recover the suppressed sincerity within the framework of Confucian thinking that had to be warm, kind, gentle, and quiet, was established and a new view of art and painting that placed emphasis on the heart was conceived, and during this period, there was a strong tendency that Yangming Simhak's thoughts spread centering around the recognition of paintings by the writers of the Soron (少論) faction. In other words, this phenomenon influenced the thinking and epistemology of reality by the writers of the Soron faction, enabling them to maintain very elastic and flexible thinking, and they emphasized personal emotions and individuality while insisting on creative theories that found answers on their own. In this context, Jeong Ji-soon(鄭持淳), a writer of the Soron faction, promoted the importance of mind and origin as the main premise of creation and the recovery and conversion to one's own mind and the mind of the subject, broadening the range of aesthetic consciousness and providing an opportunity for new aesthetic reflection.