A study aesthetic stage affect the picture painted think in the late period Chosun on the Chuangtzu’s thought.
Kim, Doyoung This work was supported by the Ministry of Education of th ...
A study aesthetic stage affect the picture painted think in the late period Chosun on the Chuangtzu’s thought.
Kim, Doyoung This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea. (NRF-2016S1A5A8018998)
In the late Joseon period (about 1700 ~ 1850), various changes were actively made in various fields such as politics and economy as well as society and culture. It was also the time of the most brilliant achievements in Korean painting history with the new paintings and the development of various styles. In particular, the fluctuations and changes of the class system have brought a tremendous change in the manner of the writers. It was not possible to actively cope with the changed order of the late Choson dynasty by the artistic work based on the three -At this point, Chuangtzu's criticism, the logic of change and injustice were captured by progressive thinkers and used as a mechanism to criticize the system and to reflect the authenticity of morality. As a means of searching literally for refreshing the direction of life,The idea of "Chuangtzu" has become an alternative.
The painting of the artist is a painting of the nobleman which emphasizes the feeling of the artist's intention in the appearance of the object to be depicted, and draws attention to the spiritual world of the artist, the "Paint one's mind". The postwar history of the late Joseon Dynasty was greatly influenced by the artistic spirit of the Chuangtzu, who portrayed the liberation spirit of 'Draw a meaning' that freed the mind and purifies the mind cleanly. Kang Se-hwang, Sim sa-jung, Lee In-sang, Kim Hong-do, Choi Buk, and Cho Hee-ryong are the characters who embraced the epistemology of the Chuangtzu and sought the possibility of new thought and embodied it in the work. Oriental painting has an artistic orientation to reveal his spiritual world, that is, to the “Draw a meaning” rather than the reproduction of natural objects. As a new method of socialization, they positively accepted the idea of "Chuangtzu", escaped from the constraints of reality and took a free life or displayed a meeting on secular value, and escaped from the Neo-Confucianism explored aesthetic sense.
In this way, it is analyzed that there are three major characteristics of the aesthetic and the aesthetic characteristics of the Chuangtzu’s thought on the painting of the late Joseon Dynasty. First, it is the Daegyo beaty of Ki-jin-ho-do. What the Chuangtzu denies is the "little craft" which means secular beauty and revealing to others. However, if the worldly beauty is denied, it will be possible to grasp the 'A big beaty', and if it transcends the pleasures of earthly delight, it will be able to realize the 'Daelock' and pursue the 'Daegyo'. Cho Hee-ryong's <Hongmaedo Dalian> and Kim Hong-do's <Nomaedo> combine the natural nature and the technique of handicraft to create a new painting of plum with the best artistic status. It is the Daegyo beaty of Ki-jin-ho-do.
Secondly, this is a simple beauty of the Empty to reveal reality. This is a way of expressing the shape of the thread (the part drawn) as a ‘huh’ (a part that is not drawn), which is a breakthrough expression method that has taken shape of the brush briefly. If the origin of the universe is regarded as being in the "Empty to reveal reality" and the source of beauty as "Empty to reveal reality", the method of expressing the figure in relation to not doing anything in a state that is not artificially modified is explained by the margin (huh). And, in fact, it is a line and a side. The paintings of Kim Hong-do's "Sansangkwanmaedo" and Lee In-sang's "Changbaigsando" In the marvelous work of margins and book lines, In stark contrast to the pilseon of the margins, the ‘jin’ of the natural substance was expressed completely. Especially, Jeon ki’s the <Gyesanpomudo> is emphasized the fulness of the natural life conveyed by the Brief expressions with no color and By the dry effect of a dry brush.
Third, it is a quaint beauty of so-yo-ja-jeog. True art is free from self-consciousness and free from social conventions. In addition, the external ugliness and bizarre expresses the sublime and beauty of the human intrinsic spirit even more truthfully and more potently. Here, Chuangtzu's original intention was not to create a single artistic form, and through it, the person who realized the nature of the absurdity, even though the external form looks incongruous and ugly, It is emphasized to receive love. Through the ugliness, the judges who showed 'Jin' the <Sunindohaedo> of Sim sa-jung, on the paintings of the <Goeseok do>, which is based on the paintings of the Gang se-hwang, painted with my fingertips on the <Pungseoryaguiin> of Choi buk. It can be seen that he deprived his unfortunate environment and painted a picture that seeks freedom and relaxed freedom.
The late Joseon period was a period when the artist perceived that art could acquire eternal life-style when he constantly attempted self-transformation while denying and criticizing the previous fixed framework. At this time, the free spiritual aesthetics of the Chuangtzu who pursued the natural nature by eliminating compromise or norms with the world affects the painters of those days.
Key words : Chuangtzu’s thought, Ki-jin-ho-do, Empty to reveal reality, Great skill beauty, A simple beauty, A Quaint beauty.