동서양의 차이와 반복 관점으로 본자연의 숭고미 표현 (A Study on the Expression of the Sublime Beauty of Nature from the Viewpoint of Difference and Repetition from East and West)

서지정보

· 발행기관 : 동서미술문화학회
· 수록지 정보 : 동서미술문화학회 미술문화연구 / 23권 / 23호 / 5 ~ 36페이지
· 저자명 : 김지은

초록

이 논문은 자연의 운동성과 자연의 생명성을 이루는 ‘자연의 힘’에 대한 탐구로부터 자연의 차이와 반복의 발생 원리를 포착해 제작한 작품을 토대로, 연구자 작품에 표현된 숭고미의 조형미를 분석하고자 한다. 구체적으로, 본 논문은 <자연의 기운> 연작으로 구성된 연구자의 작품을 중심으로, 자연 현상 이면에 작용하고 있는 차이와 반복의 발생 원리에 주목하고, 이를 기(氣)나 도(道), 들뢰즈의 차이의 철학을 통해 이론적으로 규명하고자 하였다. 이 차이의 원리가 감성적 차원에서 숭고라는 미적 차원으로 전환되는 과정과 차이와 반복의 원리가 회화적으로 어떻게 숭고의 미적 형식으로 실현되고 있는지 분석하였다.
연구자는 숭고를 초월론적 감각과 상상력의 실행, 그리고 이로부터 자연의 발생 원리로서 도(道)와 차이의 원리를 파악하는 과정과 그 정서적 결과로 간주한다. 이때 차이의 원리는 숭고의 감정 속에 명상적 상태나 차이의 역동적 발생 과정 그 자체에 신화화된 신비감의 느낌으로 파악된다. 그것은 연구자의 작품에서 자연을 다른 하나의 객체로 은유화 하는 방식으로 나타낼 때, 인간적 관점의 투영으로서 의인화가 아니라, 자연의 강도 발생에 내재한 성질 그 자체를 이미지로 표상한 결과이며, 이는 순수한 자연의 운동 안에 내포된 강도의 차이와 힘들을 숭고의 형식으로 표현하는 방식으로 발전시켜왔다.
연구자는 숭고의 미적 차원을 명상적 숭고와 역동적 숭고의 두 방식을 통해 나타내었다. 그리고 연구자 작품은 차이와 반복, 그 안에 있는 강도의 원리를 회화적 실천에서 포착할 때, 물질적 상상을 할 수 있는 아날로공의 이미지, 중첩된 형상, 모호하고 불확정적인 형상성 안에 표현함으로써 회화적 형태로 나타내었다.

영어초록

I have been working with interest in the motility of nature. Observation of the natural motion led to reflection on what led to bringing the motion, and the result was the vitality of nature. The power of life creates and moves something in nature. I have confirmed that the power of life is 'difference and repetition.' I have developed on capturing principle of difference and repetition in the infinite dynamic movement of waves and clouds to make images. Most of the works compose a series of "Aura of Nature," which visualized the energy of nature as written in the title. The energy can be described as spirit(氣) and moral(道) in the eastern viewpoint; and as the difference in Deleuze's viewpoint. Therefore, this study aims to: focus on how the occurrence principle of difference and repetition affect natural phenomena, theoretically clarify it through the philosophy of moral and difference, and analyze how the principles of difference can be expressed as the aesthetic form, sublime, in the sensory viewpoint. Specifically, it explores how it relates to the principles of difference and repetition and the sublime aesthetic form in picturesque practice. From this viewpoint, my work sees that the principle of difference and repetition, the dimension of transcendental and intense sensibility are the foundation of all-natural phenomena. Also, it pursues how it can be visualized pictorially and expressed in any sensuous mechanism and formal structure. The moral or difference principle exists in a completely different form from the dimension of phenomenal appearance. They are different from the natural appearance that we consciously deal with; because they do not have a fixed shape nor are visible, it has a characteristic that is hard to know unless they felt special or reflected. Therefore, it is transcendental. The question is how the painting can reveal or convey this dimension to viewers. My work is the result of these pictorial studies on this.
This study introduces two philosophies to examine the principle of natural occurrence from theoretical aspects. One is the Eastern moral thought, and the other is Deleuze's philosophy of difference and repetition. These two thoughts and philosophies agree that the foundation of nature and the world is 'difference,' although they were born in different eras and cultures. In other words, the difference is the source of all creations.
In brief, 'difference and repetition,' the common point between Lao-tzu's moral and Deleuze's transcendental empiricism, is presented as the basis for the natural ontologic occurrence that I seek. The natural phenomena repeat differently at every time due to differences; they occur with different intensities at every moment at the same time. The principle of difference becomes an object of thought as it’s at the level of a transcendent idea, whereas what is given to our sensibility can only be given as intensity. In other words, differences in intensity and its occurrence movements bring natural motions and cyclical occurrences. What Deleuze refers to as intensity cannot be divided and itself consists of differences in differences. At this time, emotion creates the sublime aesthetic mechanism by executing transcendent.
The sublime is an aesthetic phenomenon that occurs when the representation sensibility and imagination stop, and the transcendent sensibility and imagination are pushed to the limit. Kant says that the sublime phenomena are transitions from discomfort caused by a failure of sensibility and imagination to a feeling of pleasure that arises when rationality captures infinity. However, I consider the failure of representation sense and imagery in the sublime - rather as the process of understanding and emotional result on the principle of moral and difference as the implement of transcendental sensory and imagination, and the principles of nature arising from it. At this time, the principle of difference is understood as a mysterious feeling mythicized in a meditative condition in the sublime emotion or a process of the dynamic process of differences.
The characteristics of my work can be summarized as follows as the result of the study. When the principle of difference and repetition and the form of the intensity of difference works emotionally, these senses, perception, and the transcendent practice of sensibility, are given as an aesthetic form of the sublime. In this respect, the work can be said that difference and repetition and the difference in intensity are revealed as the sublime aesthetic form.
In conclusion, I have defined the foundation of nature as the principle of difference and repetition; based on this, I have identified that my work brings the fundamentals and senses pictorially and cause to think.

참고자료

· 없음