1. 本稿는 ‘物我交感論’에 입각하여 ‘華西의 心鏡’, ‘華西의 心鏡에 비친 山水’, ‘華西 山水詩의 表現技法’ 등을 고찰하였다. 2. 화서는 처음부터 性理學의 主氣論을 반대하고 主理論을 찬동하였으며, 20세 이후에는 朱熹의 『集註四書』를 학문의 중심으로 삼아 위로는 孔孟의 학설을 참고하고 아래로는 宋尤庵을 계승하여 독특한 宇宙觀과 人生觀을 확립하였다. 3. ‘水와 月, 鏡과 花’의 관계에 있어서 ‘水鏡’의 品質에 따라 ‘月花’의 형상이 달리 조명되듯이, 화서의 心鏡에 비친 山水는 形而下學的인 物象(氣)으로서의 山水가 아니라 形而上學的인 造化(理)에 주안점을 둔 山水였다. 4. 화서의 山水詩에 응용된 詩形은 모두가 五七言近體律詩이며, 表現技法은 함축성을 살리기 위해 직서법, 비유법, 상징법 등 다양한 修辭法을 활용하여 절묘한 詩的 感興과 韻致를 살리고 있다.

Hwa-suh Lee, Hang-ro, a Sung-ri scholar during the latter period of the Chosen Dynasty, left behind him 530 poems altogether. Out of these poems, those which employ mountains and water as the main theme are discussed in this study. Following are its main points. 1. Basing my argument on rapport of object and self, the core theory of traditional Chinese poetry, I discuss Hwa-suh's state of mind, mountains and water as reflected on his mind, and his versification technique in his mountain and water poems, following the manner in which his poems were formed. 2. Hwa-suh was born to have exceptionally talented traits, and at a very young age, became an adamant proponent of the Ju-ri doctrine of the Sung-ri philosophy and was against the Jugi doctrine. After the age of 20 when he despaired of succeeding in life through Gwa-gu and solely focused on pure scholarship, he took to Jib-ju-sa-suh of Ju-hee as main the focus of his study, and established his own unique view of the universe and of life, borrowing Gong-ja's and Maeng-ja's philosophies and inheriting Song-woo-am's scholarship. 3. In much the same way that in the relationship of water, the moon, the mirror and the flower, the moon and the flower have varying interpretations depending on the quality of the water and the mirror, the mountain and water reflected on his state of mind, because of his ideas from the Ju-ri doctrine, are not physical entities but rather metaphysical ones focused mainly on the ‘Ri’. 4. Formally, all of his poems employ 5 and 7 word set-form versifications, and his verse techniques include various rhetorical expressions such as direct reference, similes, and symbolism, and hence elicit exquisite poetic inspiration and elegance.