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Nature itself was a realistic space for the scholars of the Joseon dynasty, a space where they were able to carry out their idealistic lives. The mountain Mui(武夷) was where the great scholar Chu Hsi(朱熹) indulged in study in his later years; dwelling deep in the valley, secluded from the world-this, after he had deserted his governmental post. His poem, “Muidoga (武夷櫂歌)”, became the archetypal model for creating Gugoksi (the nine verses" poem), which had a great influence on the future Yeoungnam scholars" idealism toward nature, centered on Yi Hwang. The enthusiastic acceptance of “Muidoga(武夷櫂歌)” was due, in part, to its being considered a successor to the originality of ethics. Thus, the moral idea grew and gained momentum as it was passed down through the generations. Notably in debt to this moral philosophy was the set-up of “Dosangugok (陶山九曲)” and the poetic creation that came out of it, all of which was triggered by Lee Ya-sun in the late 18th century (1755~1831). This all served to clearly secure the scholastic genealogy of the Toegye"s school and its legitimacy.
Though the poem “Dosangugok(陶山九曲)” was written from borrowing its rhyme-scheme from Chu Hsi"s “Muidoga(武夷櫂歌)”, “Dosangugok(陶山九曲)” has its own peculiar tune-one that has a very different geographical background from “Muidoga(武夷櫂歌)”. In other words, one can guarantee the realism and creativity of the work because the first one was produced from within Dosan(陶山), a realistic background area, and not some other imaginary place. Debating the meaning of “Dosangugok(陶山九曲)” led to the creation of the poems “Oksangugok(玉山九曲)”, which came first, and “Samsangugok(三山九曲)”, which came after. This implies that there were lots of differing scholars" views about the original moral philosophy of the Yeongnam school, and some additional conflicts were found in terms of succession of its idea. In short, Toegye"s acceptance of “Muidoga(武夷櫂歌)”, and his younger students" production of “Dosangugok(陶山九曲)”, established the legitimacy of the ethics that were passed down from Chu Hsi. As a result, such efforts enabled Yeongnam scholars to identify themselves as students of Toegye"s school.
Though the poem “Dosangugok(陶山九曲)” was written from borrowing its rhyme-scheme from Chu Hsi"s “Muidoga(武夷櫂歌)”, “Dosangugok(陶山九曲)” has its own peculiar tune-one that has a very different geographical background from “Muidoga(武夷櫂歌)”. In other words, one can guarantee the realism and creativity of the work because the first one was produced from within Dosan(陶山), a realistic background area, and not some other imaginary place. Debating the meaning of “Dosangugok(陶山九曲)” led to the creation of the poems “Oksangugok(玉山九曲)”, which came first, and “Samsangugok(三山九曲)”, which came after. This implies that there were lots of differing scholars" views about the original moral philosophy of the Yeongnam school, and some additional conflicts were found in terms of succession of its idea. In short, Toegye"s acceptance of “Muidoga(武夷櫂歌)”, and his younger students" production of “Dosangugok(陶山九曲)”, established the legitimacy of the ethics that were passed down from Chu Hsi. As a result, such efforts enabled Yeongnam scholars to identify themselves as students of Toegye"s school.
목차
Ⅰ. 緖言
Ⅱ. 退溪의 <武夷櫂歌> 受容 樣相
Ⅲ. 廣瀨 李野淳(1755~1831)의 <陶山九曲>
Ⅳ. 도산구곡 시가 창작의 含意
Ⅴ. 結語
參考文獻
＜Abstract＞
참고문헌 (14)
참고문헌 신청
1. [학술지(정기간행물)] - 강신애 / 2007 / 조선시대 무이구곡도의 연원과 특징 / 미술사학연구 254 (254) : 5 ~ 40
2. [학술지(정기간행물)] - 권오영 / 2010 / 退溪의 ｢陶山雜詠｣의 理學的 含意와 그 전승 / 한국한문학연구 (46) : 93 ~ 128
3. [학술지(정기간행물)] - 김문기 / 2008 / 陶山九曲 園林과 陶山九曲詩 고찰 / 퇴계학과 유교문화 (43) : 193 ~ 233
4. [학술지(정기간행물)] - 김문기 / 2009 / 陶山九曲詩의 作品 현황과 創作 경향 / 퇴계학과 유교문화 (45) : 221 ~ 256
5. [학술지(정기간행물)] - 노재현 / 2009 / 구곡원림의 원류, 중국 무이구곡(武夷九曲)의 텍스트성 - 국내 전승(傳承) 과정을 중심으로 - / 한국조경학회지 36 (6) : 66 ~ 80
2. [학술지(정기간행물)] - 권오영 / 2010 / 退溪의 ｢陶山雜詠｣의 理學的 含意와 그 전승 / 한국한문학연구 (46) : 93 ~ 128
3. [학술지(정기간행물)] - 김문기 / 2008 / 陶山九曲 園林과 陶山九曲詩 고찰 / 퇴계학과 유교문화 (43) : 193 ~ 233
4. [학술지(정기간행물)] - 김문기 / 2009 / 陶山九曲詩의 作品 현황과 創作 경향 / 퇴계학과 유교문화 (45) : 221 ~ 256
5. [학술지(정기간행물)] - 노재현 / 2009 / 구곡원림의 원류, 중국 무이구곡(武夷九曲)의 텍스트성 - 국내 전승(傳承) 과정을 중심으로 - / 한국조경학회지 36 (6) : 66 ~ 80
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UCI(KEPA) : I410-ECN-0101-2013-001-001471070