왕궈웨이의 ‘경계설(境界說)’과 『주역』의 ‘의상론(意象論)’의 상관성 연구
The correlation between Wang Guowei’s “Boundary(境界)』” and Book of Changes(周易)’s “Mind-image(意象)』”
이글에서는 왕궈웨이(王國維, 1877~1927)가 『인간사화(人間詞話)』를 통하여 제출한 ‘경계설’과 『주역』의 ‘의상론’의 상관성을 논하고자 한다. 왕궈웨이의 ‘경계설’은 중국 고전 문헌에 조예가 깊었던 왕궈웨이가 서구 유럽의 미학을 수용하는 과정에서 이루어 낸 근대 미학의 산물이다.
그는 칸트와 쇼펜하우어의 미학에 기초하여 미와 숭고를 자신의 ‘경계설’의 두 축으로 삼고, 우미(優美)와 굉장(宏壯)이라 썼으며, 북송의 유학자였던 소옹(邵雍, 1011~1077)의 ‘관물(觀物)’ 해석을 끌어와 ‘우미’와 ‘굉장’을 풀이했다. 그 내용은 소옹이 『주역』을 풀이한 『황극경세서』 「관물편」에서 다루어진 내용으로 ‘의상론’의 핵심이다.
또한 그는 칸트의 학설에는 없는 ‘고아’를 말하였는데, 이는 왕궈웨이의 경계설이 서구 유럽 미학과 구분되는 특별함이자, ‘의상’을 본체로 논하는 동아시아 문인 미학의 특수성이다. ‘의상’은 본래 『역』을 지은 성인이 내면에 세운 ‘상’이었으며, 성인이 깨우친 ‘천리’였다. 이후 모든 사람의 본성이 ‘천리’라는 신유학의 전제는 누구든 우주의 진리를 깨우칠 수 있는 천부적 능력을 타고난다는 뜻을 함축하게 된다. ‘고아’란, 진실한 실천으로 천부적인 능력을 밝혀낸 옛 사람들의 자취를 통하여 얻는 미감이다.
우리가 문학이나 예술에서 ‘경계’를 논하는 까닭은 단지 칭송하기 위함은 아닐 것이다. 미학과 예술 이론을 연구하고 배우는 까닭도 마찬가지이다. 모두 그와 같은 품격을 이루는 방법을 구하기 위함이다. 그러므로 ‘경계설’은 ‘의상론’과의 관계가 명확하게 밝혀졌을 때, 비로소 현실적 가치를 획득할 수 있다. ‘경계설’은 창작자와 작품의 품격을 논한 학설이고, ‘의상론’은 그 마음에서 일어나는 실제적 현상을 설명하는 이론이기 때문이다.
In this article, we would like to discuss the correlation between “Boundary(境界)” and “Mind-image(意象.)” “Boundary(境界)” is a product of modern aesthetics achieved by Wang Guowei(王國維, 1877-1927), who was well versed in Chinese classical literature, in the process of embracing Western European aesthetics. Wang Guowei wrote 『The story of Human’s lyrics(人間詞話)』, and “Boundary(境界)” is a key concept that discusses the dignity of creators and works. “Mind-image(意象)” is the main bodily root of literary and art creation. “Mind-image(意象)” theory was started from Confucius’ sentence in 『Book of Change』, “The Saint completed the mind by set up image(立象以盡意).” In that sentence, The completed mind(盡意) is “Law of nature(天理)” and set up image(立象) is the structure about cause and effect between all things in the world.
He used “Beauty” and “Sublime” based on the aesthetics of Kant and Schopenhauer, as the two pillars of his “境界(boundary)” theory, wrote “優美(yōuměi)” and “宏壯(hóngzhuàng.)” and then he quote “Viewing things through my perspective(以我觀物)” and “Viewing things through their perspective(以物觀物)” by Shao Yong(邵雍, 1011-1077), a Confucian scholar of the Northern Song Dynasty. The content was covered in the 『The emperor runs the world(皇極經世書)』, which explained the 『Book of Changes』 and is the core of the “Mind-image(意象)” theory.
In addition, he said “Guya(古雅, old correctness)” that is not in Kant’s theory, which distinguishes Wang Guowei’s “Boudary(境界)” theory from Western European aesthetics. “Guya(古雅, old correctness)” is the peculiarity of East Asian literary aesthetics that discusses “Mind-image(意象)” as the main bodily root. “Mind-image(意象)” was originally a “image(象)” established by saint who built 『Book of Changes』. and also it was a “Law of nature(天理)” enlightened by an saint. Later, in Neo-Confucianism, human nature is discussed as “Law of nature(天理)”, and the phenomenon of the mind in which “Law of nature(天理)” took place is “Mind-image(意象).” The premise of Neo-Confucianism that everyone’s nature is “Law of nature(天理)” implies that anyone is born with a natural ability to enlighten the truth of the universe. Many people live without being aware of their value, but some people who have left their names in history hold on to that one thing for a long time and steadily explore that one path to reach the point of “Huòrán-guàntōng(豁然貫通, ESP).” The reason they reached the boundary(境界) of insighting the universe and life was because they each got an “Mind-image(意象).” “Mind-image(意象)” is sixth- sense phenomenon“ from bodily root. “Mind-image(意象)” was the truth of the world that saint had set up, and it was the “Law of nature(天理)” inherent in the human body. East-Asian scholar, throughout their lives, they practiced the way to merge with the truth of the universe by revealing themselves, in other words, “Guya(古雅, old correctness).” “Guya(古雅, old correctness)” is beauty obtained through the traces of them who revealed their natural abilities through such sincere practice.
The reason we discuss “Boundary(境界)” are to find a way to achieve such dignity. Therefore, “Boundary(境界)” can only acquire practical value when the relationship with “Mind-image(意象)” is clearly revealed. This is because “Boundary(境界)” is a theory that discusses the dignity of creators and works, and “Mind- image(意象)” is a theory that explains actual phenomena occurring in the mind.
한국철학사연구회
성균관대학교 김현미
