본 연구는 <구운몽>의 대표적 공간이자, 우리 문학공간의 중심 화두인 南嶽 衡山에 대한 고찰이다. 남악 형산이 실재하는 공간이면서 동시에 초월적 신성공간으로 이미지화 된 과정을 구체적으로 살피며, 동시에 <구운몽> 속 남악 형산의 이미지에 혼재하는 유ㆍ불ㆍ도적 성격의 기원을 고찰하였다. 이는 형산의 인문지리적 이미지가 형성된 역사적 내력을 살피고 그것을 기반으로 만들어진 형산의 공간적 성격을 고찰한 것으로, 이 과정에서 공간의 인문지리적 성격이 문학공간의 형성에 간여하고 있음을 밝히었다.
<구운몽>은 형산 佛敎의 성진이와 남악 道家의 8선녀가 發願한 내용을 빌미삼아, 그들이 인간 세상에 내려와 이상적인 儒家의 삶을 구현하도록 하였다. 때문에 <구운몽>의 남악은 불가적ㆍ도가적ㆍ유가적 색채가 경쟁하듯 조화를 이루며, 각자 생동하면서도 균형을 유지하는 공간이 된다. 이것은 실제 남악에 새겨진 인문지리, 즉 그것이 배경으로 삼는 인문학적 맥락과도 무관하지 않다. 남악은 도교와 불교가 공히 자신들의 대표 성지로 삼고 있는 공간인데, 이는 남악 형산에 대한 최초의 본격적 기록인 『南嶽總勝集』이 불교의 『大藏經』과 도교의 『道藏』에 모두 수록되어 있는 사실로도 알 수 있다. 여기에 남송대 주자와 장식의 수창 일화가 더해지면서 유가적 성지의 성격이 첨가되었는데, 이때 주자가 찬시를 지은 연화봉이 부각되기 시작한다. 즉 연화봉이 유불도의 공간경계역 성격을 지니게 된 것이다. 주자 이후 중국의 문인들은 연화봉을 찾아 성현을 기리는 일종의 순례를 이어 갔는데, 실제로 연화봉을 방문할 수 없었던 조선인들은 주자가 남악에서 남겼던 일화를 전고로 사용하거나 주자의 남악시에 대한 화답의 방식으로 정신적 순례에 동참했다.
이렇듯 남악 형산은 인간의 실제 역사와 사유의 궤적이 만들어낸 특수 공간이며, 그곳을 배경으로 한 문학은 그 공간이 지닌 맥락을 자기 안으로 들여오고 그곳으로 독자를 초대하여 독자에게 시대를 초월하는 메시지를 전달하고 있는 것이다. 연화봉이 자신의 성격을 유ㆍ불ㆍ도에서 다른 둘을 배척한 어느 하나로 규정하지 않으면서도 자기 안에서 끊임없이 생동하는 균형을 보여주고 있듯이, 그것을 배경으로 삼은 우리의 <구운몽> 또한 그러한 균형의 한 축을 담당하고자 한 것이 아닌가 한다.
본 연구는 소설 안에서 서사의 무대로 역할하는 공간의 작품 내적 의미를 넘어, 소설적 공간의 형상 기원을 탐구하는 사례 연구이다. 또한 인문학적 맥락에서 상상지리가 건축되는 과정을 통해 그 본래의 지향이 무엇인지 살피는 작업이기도 하다. 이는 물리적 공간에 새겨진 역사적 전고에서 파생되는 이미지의 확인에 멈추지 않고, 작품이 그 공간을 통해 환기하는 근본적 메시지가 무엇인지에 대해 다시금 생각하는 기회를 제공할 것이다.
This study is observations upon Nanyue-Hengshan(南嶽衡山), a representative place of <Guwoonmong> and also a topic of our literature. This considered Nanyue-Hengshan is not only an actual place but also a transcendent space of sacredness, and simultaneously, the origin of the character of Confucianism, Buddhism, and Taoism mixed with image of Nanyue-Hengshan in <Guwoonmong>. The historic origin of anthropogeographical image formation is traced, and Nanyue-Hengshan's spatial character builded on it is considered. In the process of its contemplation, it has developed that the anthropogeographical character of the space is concerned in the formation of literature space. In the story of <Guwoonmong>, Sungjin, a representative of Hengshan Buddhism and eight fairies, that of Taoism implemented an ideal Confucian lives because of the things they originated. So Nanyue in <Guwoonmong> is not only in harmony with Buddhism, Taoism, and Confucianism competitively but also a place that keep a balance separately aminatedly. This is associated with anthropogeography, the background of it, humanities context emblazoned on Nanyue. Nanyue is a representative holy ground of the Taoism and Buddhism. We can read off in that the first genuine record about Nanyue, 『Nanyuezongshengji(南嶽總勝集)』 is included in the complete collection of Buddhism, and the scriptures of Taoism. By adding exchanging-poem anecdote between Zhuxi(朱熹) and Zhangshi(張栻) of South Sung , herein are added the characters of Confucian holy ground, at this time, Lianhuafeng with which Zhuxi writes an admiring poem, starts to be stood out. Finally, Lianhuafeng has had the property of Space Borderline among Confucianism, Buddhism, and Taoism. After Zhuxi, many of Chinese literary people have made a pilgrimage to Lianhuafeng. Koreans who could not visit there took part in mental pilgrimage by using Zhuxi's anecdote in Nanyue as a precedent or by replying to Zhuxi's poem of Nanyue. Thus, Nanyue-Hengshan is a specific place which is made by the real history of humans and the trace of thought. A literature has its background accepts the contents of the place and invites readers there and then gives all-time messages to them. Lianhuafeng does not define the only one thing among Confucianism, Buddhism, and Taoism but shows a vibrant balance constantly within itself. Likewise, <Guwoonmong> based its background on it wants to play a special role for this balance. This is a case study not only to consider the meaning and the role of one place as the setting for a novel but also to search for the origin of formation. In addition, this is an observation upon a primary aim through the construction process of phantom geography in literary contents. Not verifying the images from a historical precedent carved into a physical space did this will provide opportunities to rethink fundamental messages aroused from the place.
This study is observations upon Nanyue-Hengshan(南嶽衡山), a representative place of <Guwoonmong> and also a topic of our literature. This considered Nanyue-Hengshan is not only an actual place but also a transcendent space of sacredness, and simultaneously, the origin of the character of Confucianism, Buddhism, and Taoism mixed with image of Nanyue-Hengshan in <Guwoonmong>. The historic origin of anthropogeographical image formation is traced, and Nanyue-Hengshan's spatial character builded on it is considered. In the process of its contemplation, it has developed that the anthropogeographical character of the space is concerned in the formation of literature space. In the story of <Guwoonmong>, Sungjin, a representative of Hengshan Buddhism and eight fairies, that of Taoism implemented an ideal Confucian lives because of the things they originated. So Nanyue in <Guwoonmong> is not only in harmony with Buddhism, Taoism, and Confucianism competitively but also a place that keep a balance separately aminatedly. This is associated with anthropogeography, the background of it, humanities context emblazoned on Nanyue. Nanyue is a representative holy ground of the Taoism and Buddhism. We can read off in that the first genuine record about Nanyue, 『Nanyuezongshengji(南嶽總勝集)』 is included in the complete collection of Buddhism, and the scriptures of Taoism. By adding exchanging-poem anecdote between Zhuxi(朱熹) and Zhangshi(張栻) of South Sung , herein are added the characters of Confucian holy ground, at this time, Lianhuafeng with which Zhuxi writes an admiring poem, starts to be stood out. Finally, Lianhuafeng has had the property of Space Borderline among Confucianism, Buddhism, and Taoism. After Zhuxi, many of Chinese literary people have made a pilgrimage to Lianhuafeng. Koreans who could not visit there took part in mental pilgrimage by using Zhuxi's anecdote in Nanyue as a precedent or by replying to Zhuxi's poem of Nanyue. Thus, Nanyue-Hengshan is a specific place which is made by the real history of humans and the trace of thought. A literature has its background accepts the contents of the place and invites readers there and then gives all-time messages to them. Lianhuafeng does not define the only one thing among Confucianism, Buddhism, and Taoism but shows a vibrant balance constantly within itself. Likewise, <Guwoonmong> based its background on it wants to play a special role for this balance. This is a case study not only to consider the meaning and the role of one place as the setting for a novel but also to search for the origin of formation. In addition, this is an observation upon a primary aim through the construction process of phantom geography in literary contents. Not verifying the images from a historical precedent carved into a physical space did this will provide opportunities to rethink fundamental messages aroused from the place.
