‘사생’(寫生) 소고(小考)

서지정보

· 발행기관 : 동아시아문화학회
· 수록지 정보 : 동아시아문화와예술
· 저자명 : 김백균

목차

I. 들어가는 말
II. 사생(寫生)과 생명 중시의 세계관
III. 기운생동, 내재적 생명의식의 표출
IV. 나가는 말
참고문헌

초록

Over for all ages and places, ‘Vigor , ‘Life’ and ‘Vitality’ these
kind of expression often used for the metaphor to criticize the
achievement of the Art works. It is said that the Artist breathe the
soul, that is, the vitality, into a dead form. Then what is the living
Art works? Why we use the conception of Life for explaining the
Art? Furthermore the Art works and metaphor of life, through
what kind of process, get the recognition of its oughtness?
The criterion of value which human has are formed by the
natural, that is, laws spontaneously being such. The morals to
human behavior, truth or reality to the valuation of an object,
aesthetical value that prescribe beauty and so on, these are
evaluated by the standard called law of ‘nature’. At this time the
Nature means the physical environment or the principle that makes
the environment possible, it is comprehended that it precede
cognitional activity of human. So, rightfulness of value in the Vice
and Virtue, the Beauty and Ugliness or the Likeness and Hatred,
which we judge, is analogized on the transcendental condition of
‘Nature’, and its presupposition is the fundamentals of accordance.
In other word, because the Nature has the perfect itself, it is
considered that it does not need any addition and subtraction.
Nature is harmony itself. So, without any question at all over the
West and East, it was conceived that the comprehension and
expression of ‘Nature’ as the criterion of every values.
Life, that is, means that principles and rules of ‘nature’ reveal
to a phenomenon. But the comparison of the life’s phenomenon
and Art work is not appointing to the circulating function of art
work itself, but is the explanation to functional application. The
Art works is not organic being that has biological function by itself.
One piece of painting can not be to eat and drink, get ill and die.
Expressing the Art works compared to ‘life’ phenomenon, it means
that feeling and emotion evoked by art work effect organically in
our recognition. It is the expression of serial process comparing to
the phenomenon of life; making significance of the Art works and
this meaning derives another meaning to appreciator who accept it.
These days we often use the expression ‘Xiesheng(drawing or
sketch, in Chinese) in painting. ‘XieSheng’, the term reflected from
Modern awareness, was just known conceptional sketch before
real work as translation of word ‘drawing’. Before Modern age
‘XieSheng’ was used for far more comprehensive and profound
meaning than present day. From the ShanJingJuHuaLun (山靜居畵
論) by Fangxun, an Artist and Theorist at Qing dynasty; ‘XieSheng’,
that is, was understood as “which is the object can be an object
itself, precisely drawing a life that is alive vitally as existing object”
In this paper, for Oriental’s view of nature and the expression
of achievement in the Art, the relation of comparison in ‘vitality’ or
‘life’ will be explained by the term of ‘XieSheng’.

영어초록

Over for all ages and places, ‘Vigor , ‘Life’ and ‘Vitality’ thesekind of expression often used for the metaphor to criticize theachievement of the Art works. It is said that the Artist breathe thesoul, that is, the vitality, into a dead form. Then what is the livingArt works? Why we use the conception of Life for explaining theArt? Furthermore the Art works and metaphor of life, throughwhat kind of process, get the recognition of its oughtness?The criterion of value which human has are formed by thenatural, that is, laws spontaneously being such. The morals tohuman behavior, truth or reality to the valuation of an object,aesthetical value that prescribe beauty and so on, these areevaluated by the standard called law of ‘nature’. At this time theNature means the physical environment or the principle that makesthe environment possible, it is comprehended that it precedecognitional activity of human. So, rightfulness of value in the Viceand Virtue, the Beauty and Ugliness or the Likeness and Hatred,which we judge, is analogized on the transcendental condition of‘Nature’, and its presupposition is the fundamentals of accordance.In other word, because the Nature has the perfect itself, it isconsidered that it does not need any addition and subtraction.Nature is harmony itself. So, without any question at all over theWest and East, it was conceived that the comprehension andexpression of ‘Nature’ as the criterion of every values.Life, that is, means that principles and rules of ‘nature’ revealto a phenomenon. But the comparison of the life’s phenomenonand Art work is not appointing to the circulating function of artwork itself, but is the explanation to functional application. TheArt works is not organic being that has biological function by itself.One piece of painting can not be to eat and drink, get ill and die.Expressing the Art works compared to ‘life’ phenomenon, it meansthat feeling and emotion evoked by art work effect organically inour recognition. It is the expression of serial process comparing tothe phenomenon of life; making significance of the Art works andthis meaning derives another meaning to appreciator who accept it.These days we often use the expression ‘Xiesheng(drawing orsketch, in Chinese) in painting. ‘XieSheng’, the term reflected fromModern awareness, was just known conceptional sketch beforereal work as translation of word ‘drawing’. Before Modern age‘XieSheng’ was used for far more comprehensive and profoundmeaning than present day. From the ShanJingJuHuaLun (山靜居畵論) by Fangxun, an Artist and Theorist at Qing dynasty; ‘XieSheng’,that is, was understood as “which is the object can be an objectitself, precisely drawing a life that is alive vitally as existing object”In this paper, for Oriental’s view of nature and the expressionof achievement in the Art, the relation of comparison in ‘vitality’ or‘life’ will be explained by the term of ‘XieSheng’.

참고자료

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