朝鮮詩人紫霞申緯之「由蘇入杜」論研究

Abstract

本論文旨在探討朝鮮後期詩人紫霞之「由蘇入杜」詩論，將紫霞的人生分成四個階段，探析「由蘇入杜」之受容、展開與發展、傳承。紫霞的「由蘇入杜」深受翁方綱的影響，但又反映著朝鮮文壇的發展情況。朝鮮文壇因性理學之影響，詩學具有教化詩的趨向，文壇的典範是杜詩。加上朝鮮文壇上流行李攀龍與王世貞的擬古主義，導致模擬主義之盛行。在這樣的背景下，紫霞以「由蘇入杜」作為反擬古主義、反對摹擬的突破口。 首先, 通過紫霞焚藁之事探討紫霞反對摹擬的詩觀之形成，再通過《焚餘錄》的作品探析推論紫霞初期詩作中語不驚人死不休之詩作態度與一飯未嘗忘君的忠誠。同時探討《焚餘錄》開始呈現出來的詩史觀點以及對東坡之敬慕。可見紫霞已完成受容「由蘇入杜」之準備。 其次，紫霞通過翁方綱從詩、書、畫三方面受容「由蘇入杜」。燕行中與翁方綱父子以及清朝文人結緣，回朝鮮後仍然保持交流。紫霞同時提倡寶蘇，在文化方面也接受拜蘇會，在朝鮮京華世族裡面引起了拜蘇文化的流行，提高蘇軾與宋詩的地位。 再次，1830年紫霞經歷了政治挫折，屏居在紫霞山莊時的詩作〈次韻坡公謫居三適詩〉中可以看出紫霞在人生態度上之學蘇。也通過這時期紫霞詩中精微、酣放等關鍵詞的出現，可知紫霞更加細緻地研究翁方綱的「由蘇入杜」論。並以詩書畫一律之觀點展開由蘇入杜。同時，通過論詩詩批評當時朝鮮文壇之摹擬的毛病，亦通過〈東人論詩絕句〉中對歷代韓國文人之評價，了解紫霞在詩作創作中，最重視的是「自成一家」。 最後，在紫霞晚年寫給弟子們的詩作中可以看出紫霞對「由蘇入杜」的重視，但最終要達到的理想境地是發揮自己的性情，「自成一家」，具有自己獨有的風格。由此可以推論，紫霞的「由蘇入杜」雖然接受翁方綱之詩論，但通過對朝鮮文壇的批評反映，紫霞的重點與翁方綱有所不同。 紫霞的「由蘇入杜」在朝鮮文壇上不僅提示了反摹擬的具體方法，也通過以書論詩、以畫論詩的論詩方法展示了詩書畫一律之觀點，並在朝鮮與清朝兩國文藝交流方面做出很大的貢獻。

The purpose of dissertation is to explore Jaha Shin Wi(紫霞申緯)’s poetic theory ‘From Su to Du(由蘇入杜)’. This study analyzes the process of reception, development, and inheritance of ‘From Su to Du’ through the Jaha's life experiences. Due to the influence of Neo-Confucianism, the literary world of Chosŏn(朝鮮) Korea evolved towards didactic poetry, and Du Fu's poetry was the paradigm. In addition, the prevalence of imitationism in the Chosŏn literary world is due to the Ming Archaism(擬古主義) of Li Panlong and Wang Shizhen. In this context, Jaha used ‘from Su to Du’ as a breakthrough against antiquity and imitative aspects of Archaism. First, from the reason of Jaha burning his own works we can understand that Jaha held an anti-imitation poetic view. The works in ‘Fen Yu Lu (焚餘錄)’ indicate a similarity with Du Fu in terms of poetic attitude and loyalty. Also, ‘Fen Yu Lu’ presents Jaha’s view of criticism and admiration for Dongpo. It can be seen that Jaha was ready to accept the idea of ‘From Su to Du’. Secondly, Jaha embraced the theory of ‘From Su to Du’ through Weng Fanggang's guidance in poetry, calligraphy, and painting. Starting from 1812, Jaha engaged in exchanges with Weng Fanggang and his son, establishing connections with literati from the Qing Dynasty. Upon returning to Joseon, Jaha advocated for ‘From Su to Du’, and led the cultural activities that admire Su Shi. This cultural phenomenon elevated the status of Su Shi and Song poetry in Chosŏn. Furthermore, in 1830, Jaha faced political setbacks. The poem ‘Ci Yun Bo Gong Zhe Ju San Shi Shi(次韻坡公謫居三適詩)’ reflects Jaha was influenced by Su Shi’s attitude towards life. During this period, Jaha studied Weng Fanggang's theory of ‘from Su to Du’ in more detail. And from the perspective of unifying poetry, calligraphy, and painting advocated ‘from Su to Du’. And also, Jaha criticized the issues in the Chosŏn literary world through poetry. especially in the poem ‘Dong Ren Lun Shi Jue Ju,’ Jaha presented his evaluations of Chosŏn literati throughout history. This demonstrates that Jaha highly valued the concept of ‘establishing one's own style.’ In his later years, Jaha focused on teaching his students ‘From Su to Du’, guiding them to express their own personalities and ‘establish their own style.’ Jaha's ‘From Su to Du’ not only provided specific methods against imitation in the Chosŏn literary scene but also employed poetry and paintings to understand poetic aesthetics. He also made significant contributions to cultural exchanges between Chosŏn and the Qing Dynasty.