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영어

Chusa Kim Jeong-hee is a scholar and artist who was a representative Korean Confucian scholar in the late Joseon Dynasty and is evaluated as the cultural icon of the world today. In this thesis, I studied the literary paintings of Chusa Kim Jeong-hee, from the perspective of Taoist aesthetic thought. I summarized the foundation of Chusa's Taoist aesthetic thought in literati paintings into two. The first is the unity of art and science, with an attitude of seeking truth from fact and pursuing the fragrance from characters and the energy from books. He thought that art and science were equal and insisted on hard studies through practical means of seeking truth from fact and gaining knowledge by studying things. He also emphasized the fragrance from characters and the energy from books enhanced through extensive reading because it becomes the basis for describing the spirit. The second is the idea of painting with calligraphy skills based on the theory that calligraphy and painting have the same origin. The reason why Chusa chose the calligraphic style of the clerical script of Western Han as a painting technique is that the Taoist aesthetic elements, such as abnormality, sturdiness, clumsiness, and roughness, which he pursued and realized, are inherent in the clerical script of Western Han. The characteristics of Chusa’s Taoist aesthetics in literati paintings are as follows. The first is to pursue an abnormal beauty that beauty and ugliness are not different. The second is to seek a clumsy beauty realized through nature itself remained intact. The aesthetic thought that beauty and ugliness are undifferentiated let him pursue the aesthetics of abnormality. Abnormality and weirdness are the aesthetic boundaries that come from maturity and skillfulness through a long period of academic training, and they imply the ultimate rightness. In addition, the understanding of nature itself remained intact and the aesthetic thought that the great skill is the same as the clumsiness turned into the pursuit of the aesthetics of clumsiness. Other aesthetic ideas such as forgetting the image after gaining the will, putting more value on resembling the spirit rather than resembling the form, childlike mind of naivety, and the empty mind of lessening everyday practicing way led Chusa to create Taoist aesthetic artworks on the level of ease at the boundary of the way without rules that transcend the formality. The representative works that can see the boundary of Chusa’s Taoist aesthetic paintings are definitely and . 〈Buriseonnando〉, an orchid painting with dynamic energy and a living spirit, was drawn in his later years. He realized aesthetic elements, such as forgetting the image after gaining the will, describing the spirit, abnormality, and clumsiness. Moreover, the unity of poetry, calligraphy, and paintings and the idea of painting with calligraphy skills emerged. In 〈Sewoeseonhyang〉, he expressed the comfortable energy in the heart in the sturdy and clumsy style of the clerical script of Western Han and haste and rough touch. His Taoist aesthetic thoughts, such as nature itself remained intact, the thought that the great skill is the same as the clumsiness, and the thought of returning to the unsophisticatedness emerged. It is a painting that he accidentally wanted to draw. Chusa insisted that literati paintings should be created by an artist with the fragrance from characters and the energy from books. And he said that it should be an art containing philosophy and aesthetics, not an excellent technique or practical purpose. The essence and characteristics of Chusa's art would be resonant and presents new visions and tasks to today's calligraphers and painters. It is significant enough to make it an example of today's culture and art spirit.

한국어

본 논문은 조선조 후기에는 ‘海東第一通儒’라고 불렸으며, 오늘날에는 ‘세계인의 문화아이콘’으로 일컬어지는 大學者이자 藝術家인 秋史金正喜의 文人畵를 道家美學思 想에 초점을 맞춰 논한 연구이다. 秋史문인화의 도가미학 사상이 형성된 基底는 크게 두 가지로 축약된다. 첫째는 ‘實事求是’ 사유의 考證學및 ‘文字香·書卷氣’ 사유를 根幹으로 하는 ‘學藝一致論’이다. 그는 학문과 예술을 동일선상에 두고 ‘實事求是’와 ‘格物致知’의 실천 방안으로 學藝硏 鑽에 정진할 것을 요구한다. 또 多讀으로 고양되는 ‘文字香·書卷氣’를 강조하는데 이것 은 神似的寫意의 根底가 되기 때문이다. 둘째는 ‘書畵同源’을 토대로 한 ‘以書入畵論’이 다. 秋史가 西漢隷의 筆法을 畵法으로 삼은 것은 자신이 추구하고 구현한 奇怪·方勁과 拙樸·野逸등의 도가미학적 심미 요소가 西漢隷에 내재되어 있기 때문이다. 秋史문인화의 도가미학적 특징은 ‘美醜不二’의 奇怪미학 과 ‘無爲自然’의 拙樸미 학의 追求에 있다. ‘美와 醜는 진리 인식의 차원에서 不二’라는 심미 사유는 奇怪미학의 추구로 전개된다. ‘奇’와 ‘怪’는 오랜 기간의 학예 연찬을 통해 기교의 원숙함과 노련함 에서 오는 심미경계로 ‘正’의 極致를 함의한다. 또 ‘무위자연’과 함께 ‘大巧若拙’의 심미 사유는 拙樸미학의 추구로 펼쳐진다. 그 외 得意忘象·重神似輕形似등의 심미 사유는 ‘天眞爛漫’의 童心및 ‘爲道日損’의 虛心등과 함께 秋史로 하여금 法式을 초월한 ‘無法 而法’의 경계에서 도가미학적 逸品을 創出하게 한다. 秋史의 도가미학적 作畵경계를 볼 수 있는 대표적인 작품은 단연〈不二禪蘭 圖〉와 〈世外僊香〉이다. 〈不二禪蘭圖〉는 秋史만년의 老境의 경지에서 得意忘象· 神似的寫意·奇怪·拙樸등의 심미 사유와 ‘詩·書·畵一致論’ 및 ‘以書入畵論’이 구현된 氣 韻生動하고 神采飛動한 逸格의 蘭畵이다. 〈世外僊香〉은 胸中逸氣를 ‘方勁古拙’의 西 漢隷와 ‘拙速野逸’의 筆致로 無爲自然·大巧若拙·復歸於樸등의 도가적 심미 사유를 구현 한 偶然欲畵이다. 秋史의 문인화는 文字香·書卷氣가 잘 陶冶된 작가의 淸高古雅한 인품을 토대로 뛰어난 기교나 실용 차원이 아닌 哲學과 美學이 담긴 예술이다. 秋史가 이룩한 예술의 본질과 특성은 오늘날의 書畵家들에게 새로운 비전과 과제를 제시하는 울림이 되어 이 시대 문화예술 정신의 典範으로 삼기에 충분하다.