洞觀的 合一性의 관점에서 본 詩書畵修行論 (East Asian Literati's Shishuhwa Contemplative Practice and its Unified Feature)

서지정보

· 발행기관 : 한국동양예술학회
· 수록지 정보 : 동양예술 / 42호 / 127 ~ 149페이지
· 저자명 : 신현경

초록

동아시아 文人들의 詩書畵는 그들의 대표철학인 儒佛道를 바탕으로 하여 사상을 표현한 形象言語이다. 그 작업 과정은 몸과 마음의 합일 하에 자신의 정서를 표출하는 자기표현과 예술적으로 수련하는 기능을 하였다. 이를 시서화수행으로 보았다. 본고는 詩書畵수행에 관한 이론적 기초를 정립하기 위하여 合一性의 표상으로서 시서화론을 중심으로 찾았다. 詩書畵論은 첫째 書畫同原論과 一律論에서 글쓰기와 그리기의 合一과 자기 표현적 기능의 몸과 마음의 합일성. 둘째 意象論과 寫意論에서 形像을 통하여 문인들의 意를 드러내는 상징성의 역할에서 可視世界와 非可視世界를 연결하는 합일성, 세째 一劃論과 氣韻生動論에서 마음으로부터 시작하는 一劃이 이미지를 생성하면서 그림의 氣運이 生動하고 자연과 인간, 물질을 통관하며 총체적으로 모든 것을 아우르는 洞觀的 合一性을 특성으로 한다. 이러한 시서화수행에서 일어나는 통관적 합일의 의 과정은 物我一體와 無我的으로 합일하는 순간들의 집적으로서 그림의 생명성이 창출되었다. 이 시서화 수행의 과정에서 洞觀的 合一을 修練하는 시각 훈련이라고 보았다.

영어초록

Shishuhwa(poetry, calligraphy and painting) is a figurative language that East Asian literati express their lives and ideas containing a monistic world view based on Confucianism, Buddhism and Taoism which is the representative idea of the Orient. This paper regards that practicing shishuhwa is to train their learning as the self-expression of their ideology and their contemplative practice based on their unified approach and artistic practice. That is, their learning as shishuhwa contemplative practice was the basis of traditional education. And also shishuhwa conveys their intention through the symbolic meaning which connects the visible world as its subject matter according to the Euisang(intention-image) theory, non-doing attitude of "liveliness of vital qi" that literati put the vitality at the first place in their shishuhwa, and contextual feature as a representation of their unified spirit in the roles of Oneness of brush stroke(il-heuk) theory and Illyul(one-uniformity) theory. In order to fuse the separated study in this modern time and to search for the philosophical foundation, the first section of the main content deals with how literati’s monistic perspective as three perfectionists’ practice was applied and adjusted, and the second section regards that the integrative unification embracing everything and "liveliness of vital qi" were manifested from non-doing attitude achieving unification of human and material in the process of shishuhwa practice and non-self being communicated by the response of the energy between nature, artist and viewer since literati counted on their finger to express their minds’ image was "liveliness of vital qi" among six laws of painting. In the third section, it examines the symbolic role of revealing its meaning through images connects between the visible and invisible world in Euisang theory. In the fourth section, shishuhwa is a way to train the unity synthesizing nature, human, and his/her mind and body in a state of unified mind and body through using with the right hemisphere of a brain as an exposure of their inner world about life rising from human’s mind according to Shitao’s One brush stroke theory. Finally, through the above 4 sections, it suggests a basic discipline as the old future to train unity developed in these process of shishuhwa.

참고자료

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