중국화풍에 따른 선의 관계성 연구


A Study on the Relationship with Dhyana According to Chinese Style of Painting


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The Chinese style of painting that needs to be inherited in the present era, has been continuously developed into an element of creation. Especially, the enlightenment of nature and stage of life was not just theoretically interpreted in a work itself, but viewed as a spirit of aesthetic arts. The self-consciousness of this aesthetic characteristics was developed and constructed on the foundation of philosophy of life. The Chinese artists thought that a method to embody Tao in the structural condition would be realizing the mind. They thought it could be obtained when the body and mind were united with the sensitivity rising about an object. Thus, the purpose of old painting & arts philosophy of China is to look at the reality through paintings. The Chinese painting thought with a premise of tradition was actually developed on the basis of learning through inspiration based on Dhyana. This inspiration is shown in an excellent piece of brushwork through objects on the basis of deceptive mental state. Thus, it aims to develop the process of entering the state of selflessness through an object after forgetting about the object through the painting, based on the flow of Dhyana. In Chinese arts, the nature was like a spiritual homeland to Chinese people, and the spiritual subject found in nature was deepened as an enlightenment. Forming a complete whole deepened in this endless relationship between nature and human, the poetry and painting show the mutually-converged look. This study aims to examine the characteristics of Chinese painting & arts by seeking for several basics of arts creation essential for Chinese painting. The Chinese painting arts were formed as a tradition continued for a long time through inheritance and development, and the sensuous unity through objects was established in the method of spiritual enlightenment. Also, of the structural characteristics of Chinese painting, the unity of image and spirit is a method of embodying Tao. When the mind is united through nature, the enlightenment could be obtained. Therefore, if the flow of painting arts is understood by viewing the painting arts as a subject and viewing the mind as body, it is possible to realize it as the expression by the interaction with Dhyana. By examining the flow of Dhyana of painting arts, it would be necessary to realize the stage of aesthetic arts acquiring the spiritual meaning by revealing the united look of nature and human, and also transcending the material meaning.


중국예술 화풍은 현시대에서도 계승을 요하지만 사실은 창작이라는 요 소로 부단히 발전되었다. 특히 자연과 인생의 경지에 대한 깨달음을 작품 자체의 이론적 해석으로 그치기보다 심미적 예술의 정신으로 보았다. 이런 심미적 특징에 대한 자각의식은 인생철학의 기초 위에 발전하여 구축되었 다. 중국예술작가들은 도를 체현하기 위한 구조적 조건에서의 방법은 마음 을 깨닫는 것이라 생각하였다. 사물에 대해 일어나는 감성과 심신이 합일 될 때 획득하는 것으로 보았다. 따라서 중국 옛 회화예술철학의 목적은 그 림을 통해 현실을 바라보는 것이다. 전통을 전제로 중국회화사상이 실제 발전하게 된 것은 선에 기초하여 영감을 통한 체득을 바탕으로 유발되었 다 볼 수 있다. 이런 영감은 허정한 심리상태를 바탕으로 사물을 통해 묘 필로 드러나곤 한다. 따라서 회화를 통해 대상을 잊어버리고 대상을 통해 홀연히 무아의 상태로 진입하는 과정을 선적 흐름을 바탕으로 전개하고자 한다.


Ⅰ. 머리말
Ⅱ. 회화의 神에 따른 선과의 관계
1. 象과 神의 선과의 관계
2. 形과 神의 선과의 관계
Ⅲ. 회화의 창작구조를 통한 선과의 관계
1. 言과 禪과의 관계
2. 象과 禪과의 관계
3. 詩·畵와 선과의 관계
Ⅳ. 결론


  • 이민경(탄호) Lee, Min kyung(Ven. Tanho). 대한불교조계종 교육아사리.


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