이 논문은 趙熙龍의 書畵論과 脫俗 趣向에 대한 기존의 논의들을 재검토해 본 것이다. 먼저 趙熙龍의 書畵論과 관련된 기존의 논의들을 재검토해 볼 때, 書畵論에서 趙熙龍의 관점과 金正喜의 관점을 상호 모순 관계로 파악하고 있는 논의들은 그 자료의 근거가 희박함을 확인할 수 있었다. 그렇다고 해서 이러한 사실이 “趙熙龍은 金正喜의 亞流이다”라는 주장을 곧장 정당화하는 것으로 해석하는 것은 지나친 것이다. 다음으로 趙熙龍의 脫俗趣向에 대해 재검토해 본바, 趙熙龍의 脫俗趣向을 단순히 현실에 대한 부정이나 현실에서의 超脫로 치부하고 말 수 없음을 확인할 수 있었다. 趙熙龍의 脫俗趣向은 나름의 사회적 문화적 배경 아래에서 등장한 것인바, 그 두드러지는 특징은 바로 ‘城市에서의 脫俗的 山水趣向’이라고 할 수 있다. 이것은 城市를 배경으로 그 職任을 수행해야 하는 中人胥吏層으로서의 趙熙龍의 삶의 조건과 관련 이해되는 것이기도 하지만, 또한 城市의 발전을 배경으로 도시적 세련을 버리지 않으면서 脫俗的 雅趣를 추구하는 지식인 문화의 새로운 경향과도 밀접한 관련이 있는 것이다. 이 지식인 문화의 새로운 경향은, 중국에서는 公安派로 대표되는 明末 淸初의 일단의 인물들에게서 확인할 수 있고, 우리나라에서는 조선후기 城市 경제의 발전이 본격화되는 17세기말 이후 나타나기 시작하여 18세기말 19세기 전반에 더욱 두드러지는 문화적 현상이 되었던 것으로 보인다. 조희룡의 脫俗的 山水趣向은 바로 이러한 사회적 문화적 배경 아래에서 이해되는 현상인 것이다.

The purpose of this article is to reexamine the existing discussions on the discourse of Jo Hee-Ryong(趙熙龍)'s calligraphy, painting, and characteristics of unworldliness in his literary works. First, if we reexamine the existing discussions on the discourse of Jo's calligraphy and painting, there is a tendency to understand Jo Hee-Ryong's perspective as contradictory to Kim Jeong-Hee(金正喜)'s in terms of discourse. However, I found a lack of materials that support this argument though this does not mean that we can justify the argument that Jo Hee-Ryong is an epigone of Kim Jeong-Hee. Second, after the reexamination, I conclude that aspects of unworldliness in Jo's literary works do not imply that Jo simply rejected or transcended reality. Such a trait rises from certain social and cultural backgrounds, and the distinctive feature of Jo's traits is the unworldly nature within urban life. It is related to the condition of Jo's life who has to serve as a Jungin(中人) clerk in the town. Furthermore, it is also closely related to the new trend of intellectual culture(or tendency) that is to pursue unworldly artistry along with the refinement of urban life in developing towns. This kind of intellectual culture can be found in Gongan School(公安派) fellows in the late Ming and early Qing period of China. In case of Korea, it appears from the end of 17th century when the market economy is beginning to flourish, and it becomes more a remarkable cultural phenomenon in the late 18th century and the early 19th century of late Choson. Jo Hee-Ryong's unworldly characteristics should be understood under this social and cultural background.

The purpose of this article is to reexamine the existing discussions on the discourse of Jo Hee-Ryong(趙熙龍)'s calligraphy, painting, and characteristics of unworldliness in his literary works. First, if we reexamine the existing discussions on the discourse of Jo's calligraphy and painting, there is a tendency to understand Jo Hee-Ryong's perspective as contradictory to Kim Jeong-Hee(金正喜)'s in terms of discourse. However, I found a lack of materials that support this argument though this does not mean that we can justify the argument that Jo Hee-Ryong is an epigone of Kim Jeong-Hee. Second, after the reexamination, I conclude that aspects of unworldliness in Jo's literary works do not imply that Jo simply rejected or transcended reality. Such a trait rises from certain social and cultural backgrounds, and the distinctive feature of Jo's traits is the unworldly nature within urban life. It is related to the condition of Jo's life who has to serve as a Jungin(中人) clerk in the town. Furthermore, it is also closely related to the new trend of intellectual culture(or tendency) that is to pursue unworldly artistry along with the refinement of urban life in developing towns. This kind of intellectual culture can be found in Gongan School(公安派) fellows in the late Ming and early Qing period of China. In case of Korea, it appears from the end of 17th century when the market economy is beginning to flourish, and it becomes more a remarkable cultural phenomenon in the late 18th century and the early 19th century of late Choson. Jo Hee-Ryong's unworldly characteristics should be understood under this social and cultural background.

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Jungin(中人層, the middle class people), Jungin Literature(中人文學), Jo Hee-Ryong(趙熙龍), Kim Jeong-Hee(金正喜), the discourse of Calligraphy and Painting(書畵論), Unworldliness(脫俗趣向), Gongan School(公安派)