A Study on the Expressions of Buddhist “Emptiness”Concept in Chinese Participatory Art

서지정보

· 발행기관 : 사단법인 한국조형디자인협회
· 수록지 정보 : 조형디자인연구 / 26권 / 2호 / 123 ~ 147페이지
· 저자명 : 리앙 시아오, 고석인

초록

Participatory Art in Western societies can be dated back to the early 20th century, before coming to the forefront in the 1990s on a global scale. Incorporation of such culture has led to corresponding artistic practices in China. With the cultural integration of the East and the West, and against the context of local societal environment and traditional culture, Chinese Participatory Art witnesses an emerging relation with Buddhist "Emptiness".
This study aims to analyze the application of Buddhist "Emptiness" concept in Chinese Participatory Art and to illustrate its value in providing new possibilities for integrating Eastern and Western cultures. This article first traces the basic historical background of "Emptiness" in Buddhism, before analyzing the history of and reasons for Participatory Art to employ related thoughts in the development of Chinese contemporary art, and discussing their relationship with Chinese Participatory Art. The four aspects of "Emptiness" such as "Dependent Arising", "Designation", "Middle Way", and "Two Truths" and corresponding expressive features in Chinese Participatory Art are also discussed and given, along with the three expressive methods of reconciliation strategies, collectivization, and didacticism. Together, they set up a theoretical framework useful for analyzing representative artworks. Meanwhile, the article also analyzes how contemporary Chinese Participatory artists use Buddhist "Emptiness" to address specific social issues through their works in contemporary social contexts.
The results indicate that based on Chinese local cultural resources and the social reality, by using Buddhist "Emptiness", Chinese participatory artists express their concern for domestic and international social issues. The "Buddhist Emptiness", by integrating itself into Western Participatory Art, has shattered the traditional modes of expression, and has produced positive effects and values in different areas, demonstrating the uniqueness of Chinese Participatory Art in expressing Buddhist thoughts. The compatibility of Buddhist "Emptiness" as a concept sheds new light on practicing Participatory Art in the broader East Asian area.

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