earticle

영어

Chinese generally thought that artistic spirit derives from human mental value and their Pilseon is synthetically represented through mental thought and daily life. This Chinese fine art shows religious color through chronological transformation process and influence of Seon thought represented in last paintings of Ming. Qing era clearly reveals its image as religious paintings. Spirit of rhythmic vitality means an energy of universe as basics of all the phenomena and it may be mentioned as reason. Spirit is not separated from reason and vice versa. Basically, spirit is an invisible energy in the universe and in Chinese aesthetics, it is considered to compose unique unified method of the universe. Like this, spirit in China became a basic value of art, literature and philosophy as a crystalline defying description. This is materialized as eventual goal of reason and leads to enlightenment. There are numerous studies that viewed rhythmic vitality originated from Sahyeok based on aesthetic perspective but theses viewed based on Seon thought are very few and there was thesis that viewed it as an organic relation with Seon thought but aesthetic element rather than Seon element was represented to be dominant. Therefore, in this study, how Seon thought is expressed in modern paintings will be explored by analyzing rhythmic vitality in a perspective of Seon thought. Through this study, direction of technique-ridden modern art is intended to be presented by analyzing an effect of Seon on modern art. Spirit is a kind of feeling and emotional expression of representing artistic touch. This is revealed through communication with general public by painting works of one's own color. While following existing art form, modern artists occasionally take a critical position by questioning genre or media. By repeating this practice, they used to construct narrative space or express social issue as paintings. In addition, they progress installation work based on infinite imagination or virtual scenario or express their emotion by searching for original movement of the body in order to overcome anxiety of modern times. Like this, modern artists adopt a method of adding infinite imagination to endowed spirit by introducing modern method succeeding old value. Movement in the nature or value of artistic expression through sound are expressed by spiritual energetic movement and up to the modern times along with chronological aesthetic trend, experiencing method of rhythmic vitality differs but its best stage is one eventually. Paintings giving rhythmic vitality make not only painter concerned but also its audience arrive at ideal spiritual stage as all the targets from minute painting part to the overall picture are drawn as if it is alive. Therefore, when spirit of a painter and target essence are united, harmonious painting is completed. As changing movement of brush tip is coincided with mind of the painter, mind of drawing a line and mystery of brush tip could be expressed on the paper only by a person who is well-versed in reason of things. Principle in art is an endless transcendence of a rule through certain things and it is represented as final goal called enlightenment. Therefore, this enlightenment is sublimated and represented as a real art.

한국어

중국인들은 인간이 갖는 끝없는 욕망과 집착의 해결점을 기운이라는 요소로 담아 회화적 표현으로 재해석했다. 특히나 현대인들이 가지는 문제점들에 대한 해결방안을 회화적 요소나 문학적 요소로 해소하고 있음을 알 수 있다. 기운생동은 물상의 순수형태를 찾아 인간의 정신적 내면에 있는 것을 표출해 내는 것으로 각 시대의 흐름에 따라 화론이나 화평은 제각기 다른 양상을 보일뿐 아니라 그 뜻하는 관념도 상당히 변화되어 왔다. 사혁은 그림을 육법으로 나누며 기운을 통해 화면위에 작가의 심상이 나타난다고 보았다. 이렇듯 시대에 따라 기운을 뜻하는 표현은 다르지만 결국 인간이 가지는 내면의 마음에서 비롯해 나타남을 알 수 있다. 이러한 시대에 따른 미학적 표현은 선사상에서 말하는 마음의 표현인 것으로 심미적 표현방법이 아닌 심적 표현방법인 것으로 보았다. 중국미학의 흐름에 따라 전개된 기운의 표현은 현대에 이르러 다양한 변화를 보이는데 선적영향을 주로 받은 중국미학은 결국 마음을 논하지 않으면 회화사를 논할 수 없을 만큼이나 큰 자리를 차지하고 있음을 짐작할 수 있다. 작가의 회화 표현을 통해 그림에 담긴 선적 기운을 살펴봄으로써 현대적으로 어떻게 변용되어 나타나는지 살펴보도록 한다.