매체의 관점으로 본“시서화일률(詩書畵一律)”론 -동양 ‘예술’과 ‘예술작품’ 관계에 대한 시론 ("ShisuHuaYilu" theory by the Medium conception - An Essay on the relationship of Oriental "art" and "a work of art")

서지정보

· 발행기관 : 한국미학회
· 수록지 정보 : 美學(미학) / 48호 / 1 ~ 28페이지
· 저자명 : 김백균

초록

"ShiShuHuaYilu(詩書畵一律)" theory provides a very important clue to investigate how the conception of art was formed and to beunderstood in the northeast Asia before the modern age. The view - the poetry, calligraphy, and drawing free from the formal difference and can share the one standard of value - does not limit the art as form. The self-consciousness of this view toward the essence of art is reflected to grasp the inherent aesthetic effect. It would be the same context what Charles Batteux attempted he named music, poetry, drawing and painting, sculpture, and dancing to 'beaux arts'. In terms of formality, we cannot apply the coherent standard to all art form; however, assuming the art form aims at the identical value of the psychological or aesthetical realm, the one standard of value can be presented.
The basic creative standard of the ancient Asia's literature, music, drawing and painting, and calligraphy can be explained by the same theory. Like what Wang Fuzi said "a person being familiar with music can discuss the poetry as well(明於樂者, 可以論詩)" both poetry and music are "expressed from the same voice of the origin of heart." From <LiDaiMingHuaJi(歷代名畵記)>, Tang dynasty, Zhang YanYuan said "calligraphy and drawing have a different name but a same body(書畵異名而同體)." In the ancient Asia, ShiShuHua(詩書畵: poetry, calligraphy, and drawing) is regarded as the virtue of a well-educated literary man. The literary men like WangWei(王維), SuShi(蘇軾), and Huang Tingjian(黃庭堅) were a poet, calligrapher, and painter at the same time. Their ultimate object to express throughout ShiShuHua was the realm of 'poetry feeling'(詩情) and 'pictorial feeling'(畵意). ShiShuHua was the form of expressing the internal psychological boundary of the literary men, so to speak 'Wen '(文).
The concept of 'Wen' in the ancient Orient is very broad, and it does not merely indicate literature. The concept of 'Wen' in the ancient China connotes various implicature. When the concept of 'Wen' is interpreted in a broad sense, it means culture and institutions. Then, it means the whole learning and knowledge, and it also designates trope, so to speak modification. After Han Dynasty, 'Wen' also indicates words and literature. 'Wen' is considered to the form and medium of communicating one's intention for an intellectual in the ancient China. For them, the most important thing was to deliver the contents of communication, 'quality'(質). And the effective way of conveying the 'quality'(質) was 'Wen'(文).
Like the conception of Zhuangzi's "DeYiWangYan"(得意妄言) or Buddhism's "SeFaDengAn"(舍筏登岸), a means always can be changed. In this thesis, I will analyze "ShiShuHuaYilu" (詩書畵一律) theory by the view of the medium conception poetry, calligraphy, and drawing was a literary man's medium. Based on this, I intend to examine the meaning of art that the ancient Chinese were aware of.

영어초록

"ShiShuHuaYilu(詩書畵一律)" theory provides a very important clue to investigate how the conception of art was formed and to beunderstood in the northeast Asia before the modern age. The view - the poetry, calligraphy, and drawing free from the formal difference and can share the one standard of value - does not limit the art as form. The self-consciousness of this view toward the essence of art is reflected to grasp the inherent aesthetic effect. It would be the same context what Charles Batteux attempted he named music, poetry, drawing and painting, sculpture, and dancing to 'beaux arts'. In terms of formality, we cannot apply the coherent standard to all art form; however, assuming the art form aims at the identical value of the psychological or aesthetical realm, the one standard of value can be presented.
The basic creative standard of the ancient Asia's literature, music, drawing and painting, and calligraphy can be explained by the same theory. Like what Wang Fuzi said "a person being familiar with music can discuss the poetry as well(明於樂者, 可以論詩)" both poetry and music are "expressed from the same voice of the origin of heart." From <LiDaiMingHuaJi(歷代名畵記)>, Tang dynasty, Zhang YanYuan said "calligraphy and drawing have a different name but a same body(書畵異名而同體)." In the ancient Asia, ShiShuHua(詩書畵: poetry, calligraphy, and drawing) is regarded as the virtue of a well-educated literary man. The literary men like WangWei(王維), SuShi(蘇軾), and Huang Tingjian(黃庭堅) were a poet, calligrapher, and painter at the same time. Their ultimate object to express throughout ShiShuHua was the realm of 'poetry feeling'(詩情) and 'pictorial feeling'(畵意). ShiShuHua was the form of expressing the internal psychological boundary of the literary men, so to speak 'Wen '(文).
The concept of 'Wen' in the ancient Orient is very broad, and it does not merely indicate literature. The concept of 'Wen' in the ancient China connotes various implicature. When the concept of 'Wen' is interpreted in a broad sense, it means culture and institutions. Then, it means the whole learning and knowledge, and it also designates trope, so to speak modification. After Han Dynasty, 'Wen' also indicates words and literature. 'Wen' is considered to the form and medium of communicating one's intention for an intellectual in the ancient China. For them, the most important thing was to deliver the contents of communication, 'quality'(質). And the effective way of conveying the 'quality'(質) was 'Wen'(文).
Like the conception of Zhuangzi's "DeYiWangYan"(得意妄言) or Buddhism's "SeFaDengAn"(舍筏登岸), a means always can be changed. In this thesis, I will analyze "ShiShuHuaYilu" (詩書畵一律) theory by the view of the medium conception poetry, calligraphy, and drawing was a literary man's medium. Based on this, I intend to examine the meaning of art that the ancient Chinese were aware of.

참고자료

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