S-Space Kyujanggak Institute for Korean Studies (규장각한국학연구원) Korean Culture (한국문화) Korean Culture (한국문화) vol.37 (2006)
|dc.identifier.citation||한국문화, Vol.37, pp. 43-68||-|
|dc.description.abstract||Cheon-ki-ron天機論 has been regarded as the representative criticism of poems in the late Joseon朝鮮 dynasty. Until now, it has been recognized that Cheon-ki-ron rose against Seong-jeong-ron性情論, the representative criticism of poems in the early Joseon dynasty. And we looked upon Cheon-ki-ron as a trial not only to be free from edification, but also to go to ‘the affirmation of emotion’ and ‘the discovery of individuality’.
But by researching of the typical statement about Cheon-ki-ron by Jang Yoo張維(1587~1638) & Kim Chang-hyeop金昌協(1651~1708) and about Seong-jeong-ron by Zhu Xi朱熹(1130~1200), I concluded that Cheon-ki-ron had no originality in comparison with Seong-jeong-ron. Therefore, I propose that we should reexamine the whole poetics built on the opposition between Seong-jeong-ron and Cheon-ki-ron.
Investigating the viewpoint of establishing Cheon-ki-ron as the Joseon"s characteristic aesthetics, I found that the contents of Cheon-ki-ron were close to the synthesis of various theories of literary arts of East Asia in 16~17th century as well as the poetics of Chianhou-chizi前後七子. Accordingly, I concluded that Cheon-ki-ron was not the aesthetics native to Korea in the late Joseon dynasty.
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- Kyujanggak Institute for Korean Studies (규장각한국학연구원)Korean Culture (한국문화) Korean Culture (한국문화) vol.37 (2006)