谿谷 張維의 天機論的 書藝認識

• 영문명: A Study of Gyegok Jang Yu’s Understanding of Calligraphy Based on the Theory of Heaven-Gifted Nature
• 발행기관: 한국서예학회
• 저자명: 임명남(Myung-nam Lim)
• 간행물 정보: 『서예학연구』제47호, 195~213쪽, 전체 19쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2025.09.30

국문 초록

谿谷 張維(1587~1638)는 임병양란과 인조반정 등 내우외환의 어려운 환경에서 고위 관직을 두루 역임한 정치가이자 사상가이다. 그는 조선 후기 문화 사상계의 주요 담론이 된 眞假論과 그 바탕이 되는 天機論를 최초로 주창한 인물로 알려져 있다. 계곡은 우리나라의 학문은 다양함이 없고, 주자학에 구속되어 학문의 발전과 인재 양성이 이루어지지 않는 실정을 통절하게 비판하고, 양명학뿐만 아니라 노장까지도 수용했다. 그는 이러한 사유를 바탕으로 가치와 질서의 모순과 불합리를 인식하고 비판하면서 체제의 혁신과 새로운 가치 질서를 추구했다. 그는 이러한 모색을 사회사상 및 문화예술 등으로 확산했다. 그는 진가 담론을 주로 문학비평 이론으로 사용하면서 문학 이론의 범위를 넘어 존재와 인식 전반의 진정성을 물었다. 임병 양란 이후 실학의 전조가 나타나고 문학·예술방면에서도 전쟁의 상처로 인하여 새로운 감각이 필요했던 시기에 계곡은 모든 예술을 정주학적 사유로 귀결시키려던 종래의 시각을 탈피하여 그의 천기론적 사유로 해석하려고 했다. 이런 사유의 연장선상에서 서예의 心畫은 천기를 담는 그릇이며, 천기는 心畫의 근원적 토대임을 말했다. 즉 서예는 주체 본심의 산물, 곧 마음이 작용한 결과라는 것이다. 그러나 그의 서예인식에 관한 글 거개는 고정학적인 진가론에 치우쳐있다. 요컨대 계곡은 기교적 미감이나 형식적 감상이 아닌, 자연의 이치와 작가의 성정을 중시한 천기론적 문예인식과 서예인식을 견지했다. 그의 이러한 서예인식은 조선중기 서예미학을 더 풍부하게 했다고 하겠다.

영문 초록

Gyegok Jang Yu (張維, 1587-1638) was a prominent scholar-official who navigated the upheavals of the Japanese invasion of Korea (1592-1598), the Second Manchu invasion of Korea (1636), and the Injo Restoration while serving in senior government positions. He is widely regarded as the first to articulate the Discourse on the True and the False (眞假論) and its theoretical foundation, the Theory of Heaven-Gifted Nature (天機論), both of which later shaped key debates in late Joseon intellectual culture. Rejecting the confinement of scholarship to Zhu Xi orthodoxy, Jang Yu criticized the lack of plurality in Korean thought and embraced Yangming learning as well as Lao-Zhuang philosophy. From this standpoint, he exposed contradictions and irrationalities in prevailing values and systems. He advocated systemic renewal and extended these concerns into social thought and the arts. Although he used the true-false discourse primarily as a framework for literary criticism, Jang Yu extended the question of authenticity beyond literature to being and cognition. In the postwar milieu—marked by the stirrings of practical learning and a demand for new sensibilities in literature and art—he departed from efforts to subordinate all arts to orthodox Neo-Confucian reasoning, instead interpreting them through the Theory of Heaven-Gifted Nature. Accordingly, he argued that the calligrapher’s “mind-painting” (心畫) is the vessel that contains heaven-gifted nature (天機), while heaven-gifted nature provides the foundational ground of mind-painting. However, his writings on calligraphy often reflect a relatively fixed application of the true-false discourse. Overall, Jang Yu advances an understanding of calligraphy that emphasizes the principles of nature and the writer’s moral-emotional disposition over technical virtuosity or formal appreciation, thereby enriching mid-Joseon calligraphic aesthetics.Gyegok Jang Yu (張維, 1587-1638) was a prominent scholar-official who navigated the upheavals of the Japanese invasion of Korea (1592-1598), the Second Manchu invasion of Korea (1636), and the Injo Restoration while serving in senior government positions. He is widely regarded as the first to articulate the Discourse on the True and the False (眞假論) and its theoretical foundation, the Theory of Heaven-Gifted Nature (天機論), both of which later shaped key debates in late Joseon intellectual culture. Rejecting the confinement of scholarship to Zhu Xi orthodoxy, Jang Yu criticized the lack of plurality in Korean thought and embraced Yangming learning as well as Lao-Zhuang philosophy. From this standpoint, he exposed contradictions and irrationalities in prevailing values and systems. He advocated systemic renewal and extended these concerns into social thought and the arts. Although he used the true-false discourse primarily as a framework for literary criticism, Jang Yu extended the question of authenticity beyond literature to being and cognition. In the postwar milieu—marked by the stirrings of practical learning and a demand for new sensibilities in literature and art—he departed from efforts to subordinate all arts to orthodox Neo-Confucian reasoning, instead interpreting them through the Theory of Heaven-Gifted Nature. Accordingly, he argued that the calligrapher’s “mind-painting” (心畫) is the vessel that contains heaven-gifted nature (天機), while heaven-gifted nature provides the foundational ground of mind-painting. However, his writings on calligraphy often reflect a relatively fixed application of the true-false discourse. Overall, Jang Yu advances an understanding of calligraphy that emphasizes the principles of nature and the writer’s moral-emotional disposition over technical virtuosity or formal appreciation, thereby enriching mid-Joseon calligraphic aesthetics.

목차

Ⅰ. 들어가는 말

Ⅱ. 천기론적 문예인식

Ⅲ. 진가론적 서예인식

Ⅳ. 정리하는 말

참고문헌

키워드

Gyegok(谿谷) Jang Yu(張維) heaven-gifted nature (天機) Discourse on the True and the False (眞假論) calligraphic aesthetics understanding of calligraphy (書藝認識) 谿谷 張維 天機 眞假論 書藝認識