야나기 무네요시에 있어서 '사회주의'의 의미와 그 원천

신나경(Na-Kyung Shin) 민족미학회 2005 민족미학 Vol.3 No.-

야나기 무네요시의 공예이념에 관한 연구: 모리스에 대한 야나기의 비평을 중심으로

신나경 ( Na Kyung Shin ) 한국미학예술학회 2005 美學·藝術學硏究 Vol.22 No.-

This paper aims at revealing the idea of craft of Yanagi Muneyoshi, who created the term ``mingei`` and praised the Choson art, especially based on the historical background in his times. The term is deeply engraved on our memory as the image of preservation of Eastern traditional arts, being connected to the fact that Yanagi praised the Choson dynasty arts. However, it was after 1925 that Yanagi created the term ``Mingei`` and developed Mingei Movement, who showed active interest for Choson dynasty art before and after the 1920s. In fact, he devoted himself to excavating, exhibiting, and advertising folk crafts of Japan within his mother country during the period, so his interest in Choson art was considerably decreasing. Moreover, we looking into the procedure of his Mingei Movement in detail, it can be considered that Yanagai sympathized with the socialism of Morris due to the fact that he tried to create the guild named the ``Mingei Cooperation Group(民藝協團)`` by himself after he was stimulated by the Arts and Crafts Movement of Morris. Yet, the Mingei Movement of Yanagi and the direction of Arts and Crafts Movement of Morris show clear difference to each other. Actually, Yanagi would already emphasize on the difference between the Arts and Crafts Movement of Morris and his Mingei Movement from 1927 when he tried to found the Mingei Cooperation Group. Yanagi was in favor of the concept of handcraft by Morris, but he argued against Morris` sense of beauty. Yanagi clearly distinguished craft from art in his Mingei theory, and criticized the theory and execution of Morris on such a distinction. Therefore, it seemed that ``mingei`` theory of Yanagi started with responding to the Arts and Crafts Movement of Morris, but he made a clearer form of his movement in the procedure of criticizing it. Yanagi`s criticism of Morris provided a moment for Yanagi to decide the future direction of his Mingei Movenment. It also seemed to bring two important changes to his crafts criticism since then. One is putting the concept of ``mingei`` in the center of crafts by clearly distinguishing craft from art, and the other is emphasizing on a difference between ``individual artist`` and ``an artisan of disinterestedness`` to persist in the social significance of craft. In other words, the problem of crafts in Yanagi was not the issue of embodying the mind of that era or hobby but the issue of social environment or esthetics. Therefore, he considered that the craft world is not a place of creating theoretical results or constitutional works, but a field of making beautiful ordinary products to keep the society beautiful.

근대 일본의 공예교육과 동아시아 예술의 특수성

신나경(Shin, Na-Kyung) 대한일어일문학회 2018 일어일문학 Vol.79 No.-

Today, domestic craftsmen seem to be seriously undergoing the problem of identity and lack of theory. In order to solve these problems, it would be difficult to find a clue to solving the problems simply by examining the patterns of domestic craftsmen and diagnosing cases of advanced overseas. First, we should look into the origin of `Crafts` that flowed into Korea through Japan, and examine the ideals and practices of those who established them and how they influenced the history of our traditional crafts. The concept of `工藝(crafts)` was introduced into Korea through modern Japan. In the course of modernization, Japan also proceeded to imitate Western art classifications. What was the problem in the process was the difference of the concept of `art` in modern Western and in East Asia. Japan, which had been so westernized at the time, insisted that it was "de-Asia." Japan accepted this concept without filtration, and rebellions and conflicts in such a process leave a clear trail in the ideology of modern arts and crafts education in Japan. This study examines the situation of modern crafts world in Japan, which had the same East Asian art tradition and arbitrarily embraced Western art concept first, and analyzes the process of conflict and harmony about the concepts of craft as traditional tools and new Western modern art concepts among in japanese craftsmen at that time. It is a study to examine the present condition of the system. In recent years, there has been a lot of research on the Meiji art to look closely at Japanese craft theories. In particular, Japanese scholars pay attention to the process of importing western art concepts from the pre-Edo era molding culture, in which there was no conceptual art, and creating a system of art. And it is especially noteworthy that they try to find out what Japan has received as `art` in the past by studying what has been excluded as `non-art` in such a process.

심포지엄 : 공예-디자인-미디어 ; 야나기 무네요시의 민예론에 있어서 미와 도덕

신나경 ( Na Kyung Shin ) 한국미학예술학회 2008 美學·藝術學硏究 Vol.28 No.-

라이프스타일의 변화와 현대공예의 다양한 혁신 - 일본 공예산업의 사례를 중심으로 -

신나경(Shin, Na-Kyung) 대한일어일문학회 2020 일어일문학 Vol.88 No.-

This study is to examine how the traditional handicraft in Japan is changing as the modern lifestyle changes with the development of cultural contents. In Japan, lifestyle has drastically changed from the post-war era. This paper traces changes in Japanese lifestyles based on changes in the values of life that have been particularly noticeable in Japan. As a result, the baby boomers born after the war turned out to be most consumeristic, while the following generations shifted towards efficiency, thrift, recycle and reuse due largely to environmental concerns as a social issue and related external factors. Thus, it was found that the current generation"s lifestyle are characterized by subjective action from a voluntary motive for an ideal future. This shift in the way of life greatly affects the Japanese handicraft industry. A close look into companies that have successfully reinvented the Japanese handicraft and stores that have inherited traditional craftsmanship as a family business suggests the following points. First, sustainable materials are used to protect the environment. Second, producers pay more attention to the characteristics of each consumer. Third, collaboration and creation of universal values are found. The creation of these values shows that, nowadays, Japanese contemporary craftsmen take a step further from the emphasis on the relationship between goods and people, and towards the relationship between people. This change in thought can also be attributed to changes in Japanese lifestyle and the design of life according to the changes in Japanese society where the cause of sustainable consumption (SDGs) is increasingly emphasized.

서구근대미학의 수용에서 "미적범주론"의 양상과 의미 - 한국과 일본의 초창기 미학을 중심으로 -

신나경 ( Nakyung Shin ) 한국동양예술학회 2016 동양예술 Vol.31 No.-

이 연구는 일본으로 서구 근대미학이 유입되면서 동양에서 소위 ‘美學’이란 학문이 성립될 즈음, 서구근대미학에서 발달되었던 미적범주론이 어떻게 수용되었는지를 고찰하고, 그러한 고찰을 바탕으로 기존의 한국미학 연구에서 특히 많이 논의되어 왔던 ‘미적 범주론’의 양상과 그 의의를 재고해 보고자 하는 것이다. 미적 범주란 사유 혹은 존재의 근본형식을 의미하는 철학에서의 범주개념을 미학에 적용한 것이다. 19세기말에 동경대학에 미학강좌가 개설된 이래 일본미학의 추세는 서구의 미학적 방법론을 수용하면서 그들의 고유한 전통개념에 의존하는 방식을 취했다. 예를 들면, 오니시 요시노리(大西克禮)는 ‘유현(幽玄)’, ‘비애(悲哀)’, ‘풍아(風雅)와 같은 일본의 전통적 개념을 미적 범주로 성립시키고자 했다. 기존의 한국미학에서 가장 많이 연구되어 온 방법론 역시 미적범주론이라고 볼수 있다. 고유섭의 ‘무기교의 기교’나, 조지훈의 ‘멋의 연구’등이 그 대표적인 예라고 할수 있을 것이다. 한국에 이와 같은 근대학문으로서의 미학이 유입된 것은 역시 일본의 식민지 문화정책의 일환에 의해서였다. 그 때문에 한국에서의 미학 연구는 일정한 한계를 안고 시작되었다고 볼 수 있다. 따라서 이러한 미적범주론 위주의 한국미학은 어디까지나 일본미학의 영향 아래 발전된 것으로서 한계를 가진 이론이 아닌가하는 비판과 자성도 없지 않았다. 그러나 기존의 한·일미학계의 연구동향을 살펴서 비교 분석해 보면, 서로의 미적범주론은 그 특성과 성립배경에 차이가 있는 데다 일본 역시 서양의 학문체계를 받아들였으므로 반드시 국내의 미적범주론이 일본만의 영향이라고 볼 수 있는 근거는 없다고 생각된다. 세계미학의 발전 추세는 글로벌화되고 있으며, 지구상의 인류가 점점 더 빈번하게 교류함에 따라 세계문화도 아이덴터티의 상호의식이나 상호이해로 나아가고 있다. 그러나 글로벌화가 각 민족의 일정한 특색이나 범주마저 완전히 무화(無化)하는 것은 아니다. 왜냐하면 현실에서 발견되는 미의식은 어느 정도의 문화적 편차를 포함하고 있으며, 어떤 문화도 미적체험을 특정 짓는 유형적 개념을 가지기 때문이다. 미래의 예술이나 미학은 결국 각 민족의 특색을 유지하면서 공통의 일치점을 향해 나아갈 것이며, 그런 의미에서 미적범주론은 계속 유의미한 연구방법론의 하나라고 생각된다. The study identifies how the Western aesthetic category theory had been accepted since the introduction of Western aesthetic notions in Japan, and accordingly understands the aspect of ‘aesthetic category’ and significance that have been mainly discussed in Korean aesthetics. Since Western aesthetics was introduced to Tokyo university in the late 19the century, Japanese aesthetics has accepted western aesthetic methodology while relying on its traditional notions. For instance, Ohnishi(大西克禮) has tried to incorporate Japanese traditional beauty concepts such as Yugen(幽玄), Sorrow(悲哀), and Wabi(わび) into aesthetic category. Most commonly used methodology in Korean aesthetics is also aesthetic category theory, which was, however, introduced to Korea in line with the Japanese colonial cultural policy; and thus, there has been criticism and introspection on Korean aesthetics, which has been too focused on aesthetic category theory under the influence of Japanese aesthetics and seems to be innately limited. Looking at aesthetic study trends between Korea and Japan, however, the differences of aesthetic category theory appear in their characteristics and foundation background. Korean aesthetic should not strictly be seen as part of Japanese aesthetic influence as Japan has also adopted Western aesthetics. Aesthetic development has become internationalized and grown into mutual and cultural understanding as the world has established closely interchangeable networks between nations. This phenomenon does not mean to nullify the cultural uniqueness and category of each nation because aesthetic concepts found in reality include the cultural difference; any culture obtains tangible concepts that define its aesthetic value. The future art and aesthetics will move forwards mutually agreed concepts among nations while each of them sustain its cultural and aesthetic uniqueness; in this respect aesthetic category theory will believably continue to be one of significant methodologies.

`감성`의 측면으로 본 동서양의 공예론 -윌리엄 모리스와 야나기 무네요시를 중심으로 -

신나경 ( Shin Na-kyung ) 한국동양예술학회 2017 동양예술 Vol.35 No.-

18세기에 서구 근대가 탄생시킨 순수미술(Fine Art)이 `유용성`을 배제하면서 모더니즘 시기까지 최고의 미를 구가할 때, 공예는 장인(匠人)에 의한 장식예술이자 응용미술로서 단지 부가적인 미의 역할을 담당해왔다. 그런 상황 속에서 서양에서는 윌리엄 모리스(W.Morris)의 미술공예운동을 계기로, 또한 동양에서는 야나기 무네요시(柳宗悅)의 민예운동을 시발점으로 하여 각기 공예에 대한 관심이 급격하게 환기되게 되었다. 그런데 이들 모리스와 야나기의 사상 속에 `공예(工藝, craft)`라는 개념은 결코 동일한 개념으로 보이지 않는다. 서양의 중세미술을 모범으로 하는 미술공예운동의 곡선적이고 우아한 `미술공예`와 야나기의 민예관에 소장된 소박하고 단아한 `민예`를 떠올려 본다면 이들 공예 간에 어떤 공통적인 조형상의 미적특질을 찾기는 어려울 것이다. 비록 야나기와 모리스가 똑같이 공예의 중요성을 강조했다고는 하지만, 동양과 서양이라는 각기 다른 문화적 배경에서 성장해 온 그들의 감성이 가진 차이가 역시 그들의 예술관과 작품에 확연하게 드러나기 때문이다. 여기서 주목하는 것은 바로 야나기가 모리스의 예술사상에 깊이 공감하고 존경하였음에도 불구하고 그가 추구한 공예는 `회화적(미술적)`이었다고 비판한 점이다. 야나기의 이같은 모리스 비판 속에는 그가 의식하지 못했을지도 모를 형이나 색 등을 중시하는 `회화적인 것` 과 `소재의 중시` 혹은 `촉각성`에 관한 강한 대비가 있다. 공예가 소재를 완미하는 것에 중점을 두는 것에 비하여, 회화나 조각에서는 상대적으로 형이나 색등의 요소가 중심을 이루고 있다는 것은 확실하다. 물론 회화나 조각에 있어서도, 예를 들면 `마티에르 (matiere)`라고 하는 용어에 나타나 있듯이 소재의 맛은 중요한 계기를 이루지만, 그럼에도 불구하고 대개는 형태나 색이 주된 요소가 된다. 형태나 색이 주역이 되는 것은 작가들이 그들 자신의 이상을 자유롭게 표현하기가 용이했기 때문이며, 사실 근대 이후의 미술은 작가 자신의 이상을 표현하는 것을 주목표로 해 왔다. 그러나 `나`를 중심으로 두고(주관), 그 내가 대상(객관)을 파악한다고 하는 주관-객관의 축에 따라 구성된 서양과는 달리, 대상과의 합일을 중심으로 생각하는 동아시아의 전통에서 미술은 항상 일상생활과 깊이 관련을 맺으면서, 대상을 향하는 의식도 시각적인 것이 아니라, 촉각적이며 전신으로 반응한다. 본고는 이와 같이 감성이 다르면 감동받는 조형의 세계도 당연이 달라질 수밖에 없다는 점에 근거하여 `미술공예`와 서양의 감성, 민예와 동양(동아시아인)의 감성이 가지는 구조의 차이를 고찰해 본 것이다. The craft has played a role of simply additional beauty as the decorative and applied art by the master craftsman when the fine art that the western modern times has given the birth was recognized as the best beauty until the modernism era by excluding the usability in the 18th century. The interest for the craft respectively starting with the head of Art and Craft Movement of J. Ruskin and W. Morris in the West, as the starting point with the Folk crafts movement of Yanagi Muneyoshi (柳宗悅) in the East has been aroused rapidly under such circumstances. By the way, how the concept called the crafts in the thought of Morris and Yanagi can be tied as the same concept indeed? It would be difficult to find the aesthetic characteristic of certain common in molding elements among these crafts if you recall the curve and elegant art crafts of Arts and Crafts Movement that the medieval art of West shall be the model and the simple and elegant crafts of Folk crafts that Yanagi pursued. Although Yanagi and Morris emphasized the importance of crafts equally, it is because the difference that their emotion grown in a different cultural background called the East and West respectively as well are exposed in their view of art and work definitely. This paper would reconsider the difference of the emotion of Westerns in Art and Crafts and the emotion of Asian in Folk crafts on the basis of the point that the view of point about artwork has no alternative but to be different naturally if the emotion is different like this. By doing so, it aims to provide the key seeking the new direction of crafts in our climate of crafts world getting a lot of control still in the viewpoint overlooking the crafts in modern Western eyes after the Japanese colonial era. It has been noted that whereas Yanagi responded to the tactual sense like the ceramic sensitively out of especially crafts field, Morris responded to the pictorial art of textile or wallpaper, etc. mainly by comparatively analyzing the difference concretely in the aesthetic sensibility of Yanagi and Morris with the representative crafts they made or collected.

글로벌시대에 있어서 동양예술의 의미재고 -전통예술의 매체융합을 중심으로

신나경 ( Na Kung Shin ) 한국동양예술학회 2011 동양예술 Vol.17 No.-

본고는 국제적 예술교류가 어느 때보다도 활발한 오늘날의 상황 속에서, 「글로벌화」의 의미와 현대예술, 특히 시각예술의 제 양상을 고찰하고, 동양의 전통적 예술들이 새롭게 등장하는 예술매체들과 어떻게 융합되는가 하는 점에 주목함으로써, 오늘날 동양예술의 의미를 再考해 보고자 하는 것이다. 현대예술계는 통섭과 융합, 글로컬(glocal)한 경향, 다원화 현상, 예술의 상업화 등으로 특징지어져, 동·서를 초월하는 초영역적인 현상을 보이고 있다. 그러나 그러한 상황이 바로 예술계에 있어서 동양과 서양의 대등한 관계를 의미하지는 않는다. 사상이나 예술에 있어서 지역적 차이와 차별은 분명히 중심과 주변의 문제이거나, 지배와 종속의 문제가 아님에도 불구하고, 엄연히 세계의 예술계에서는 중심과 주변이 존재한다. 근본적으로 유럽의 「미술사」는 「서양미술사」로서 18세기에 파생한 학문임에도 불구하고, 거기서 배양되어온 「서양미술」의 규범이 「미술」이라는 「보편성」으로 모습을 바꾸면서 글로벌화 하여, 국경을 잃어버리고 있는 현대미술비평을 지배해 왔기 때문이다. 그것은 또한 예술에서 「순수성」의 표방이라는 미명 하에 서양에서 파생된 「파인아트」 개념을 중심으로 위치시켜, 소위 「응용예술」에서 훨씬 풍부한 보고를 가진 동양의 예술을 보다 하위 예술로 전락시켜 왔다. 따라서 앞으로 동양예술의 향방은 시공간을 뛰어넘는 단일문화체제의 배경에 웅크리고 있는 국제자본의 논리에 쉬이 침식당하지 않으면서도, 또한 동양적 이미지의 과대포장 전략을 통해 서구안의 도식화된 오리엔탈리즘의 틀 속에 쉽게 안주하지 않는 예술이어야 할 것이다. 다시 말해 ‘지역(local)’과 ‘세계(global)’가 연결될 수밖에 없는 오늘날의 동양예술은, 동양의 정체성을 전파하는 동시에 세계적 보편성이라는 문제를 동시에 해결해야 하는 시대적 과제를 수용하지 않으면 안 될 것이다. 그리고 그것은 또한 필연적으로 동양예술의 현대화에 관한 모색과 관련되어야 할 것이다. 이런 점에서 중국의 「수묵애니메이션」과 우리나라의 「디지로그 사물놀이-죽은 나무 꽃피우기」 등의 시도는 현대의 테크놀로지를 이용하면서도, 그 내면에 동양예술 고유의 미학과 민족특유의 전통성을 잘 계승하고 있다는 점에서 매우 시사적인 것이다. Under today’s circumstances where international arts exchanges have been more active than ever, this paper examines the meaning of ‘globalization’ and various aspects of modern art, particularly visual art, focusing on how oriental traditional art can be integrated with newly emerging art media, and reviews the meanings of today’s oriental art. The modern art world has been characterized by consilience and integration, glocalism trends, diversified phenomena, and commercialization of art, super-realm phenomena transcending the East and the West. However, such situations do not mean the equal footing of the East and the West in the art world. Despite the fact that the regional differences and regional discrimination in art are clearly not the matter of center and border areas or the matter of domination and subordination, the center and border area undoubtedly exist in the art world. The ‘art history’ of Europe is basically ‘western art history’, a field of study derived in the 18th century, but the norms of ‘western art’ that have been promoted from there have been transformed into the ‘universality’ of art and globalization, dominating the borderless modern art criticism. Under the guise of standing for ‘purity’ in art, the concept of ‘fine arts’ that was derived from the West has been positioned in the center and the oriental art that has far richer repository in so-called applied arts have been downgrading. Accordingly, the future oriental art should be the one that is not easily eroded by the logic of international capital that is crouching in the backgrounds of monocultural system and should be the art that is not easily satisfied with the framework of schematized orientalism in the West through exaggeration strategies of oriental images. In other words, the oriental art of today where ‘local’ and ‘global’ are bound to be connected must accept the task of the times to solve the two problems simultaneously-to disseminate the identity of the orient and to adopt global universality. And necessarily it should be connected with exploration of modernizing the oriental art. In this sense, Chinese water-ink animation in the use of the original ink paintings and ‘samulnori’, Korean traditional percussion quartet, is very suggestive in that it inherits aesthetics inherent to oriental art and ethnic tradition in its inner side while using modern technology.

일본의 근대 공예론에 나타난 미의식과 전통도예의 발전 양상

신나경 ( Shin Na Kyung ) 한국동양예술학회 2020 동양예술 Vol.48 No.-

전통공예의 계승은 지역의 장점을 살려 그 지역의 정체성을 확보하게 하는 매우 중요한 문제이다. 그러나 현실적으로 대부분 국가는 자금 부족과 더불어, 계승자나 원재료 확보의 어려움 등으로 매우 어려운 상황에서 직면하고 있다. 그런데 일본의 경우를 살펴보면, 전통적 공예의 계승과 보존, 그리고 발전을 정부와 민간의 주도 아래 비교적 매우 활발하게 진행하고 있는 것을 볼 수 있다. 이 논문에서는 이러한 일본 사례를 고찰하면서 (1) 일본 전통도예의 의미와 특징을 살펴보고, (2) 그러한 전통도예의 맥이 현대에서도 끊이지 않고 활성화될 수 있는 요인은 무엇인지를 알아보고자 한다. 그리하여 전통도예의 발전양상과 근대공예론에 나타난 미의식과의 관련성에 관해서 살펴보고자 한다. 일본 근대공예론에서 규정된 이상적인 전통공예를 살펴보면 시대적으로 중세의 미적 특질을 그 이상으로 하고 있다. 그리고 조형적 측면에서는 ‘화려하거나 인공적이지 않은, 소위 ’무작위의 작위’로 일컬어지는 소박한 ‘민중적인 공예’이다. 이러한 설정은 당시 일본의 도공들과 예술가, 그리고 수집가들에 많은 영향을 주었으며 공예에 대한 다양한 논의가 일어나는 계기를 주어 일본의 근대공예론이 활성화되는 계기가 되었다. 그것은 또한 근대 이후 일반인들이 떠올리는 ‘전통공예’에 역시 영향을 주었을 것이며, 그러한 이미지 확립은, 과학적 제조기술의 발달로 인하여 컬러풀한 이미지의 화려한 현대도자기들이 범람하는 오늘날 ‘무유소성’을 주로 하는 ‘도기’ 생산지 위주의 육고요가 현대에서도 그 명맥을 유지하는 데 적지 않은 영향을 주었을 것으로 생각한다. The succession of traditional crafts is a very important issue that makes it possible to secure the identity of the region by taking advantage of the region. However, in reality, most countries face very difficult situations due to lack of funds, difficulties in securing successors or raw materials. However, you can see that the succession, preservation, and development of traditional crafts are relatively active under the initiative of the government and the private sector. In this paper, we will examine these examples of Japan (1) to look at the meaning and characteristics of traditional Japanese ceramic art, and (2) to find out what factors can make such traditional ceramic art continually active in modern times. Therefore, I would like to examine the relationship between the development pattern of traditional ceramic art and the aesthetic consciousness in modern craft theory. Looking at the ideal traditional crafts defined in Japanese modern craft theory, the aesthetic qualities of the Middle Ages are more than that. And in terms of formativeness, it is a simple 'popular craft' called 'not artificial', which is not 'gorgeous or artificial'. This image setting had a great influence on Japanese potters, artists, and collectors at the time, and it gave an opportunity for various discussions on crafts, which stimulated Japanese modern craft theory. It would also have influenced the general public to establish the image of 'traditional craft' after the modern era. And the establishment of such an image would have had a significant impact on maintaining its reputation even today, mainly in the production of simple'pottery', in the modern day when various modern ceramics of colorful images are overflowing due to the development of scientific manufacturing technology.

한국미의 범주로서의 ‘자연

신나경(Na-Kyoung Shin) 민족미학회 2007 민족미학 Vol.6 No.-

"Nature", the main theme of the art history has been considered as a special quality of Korean beauty for a long time. Widely known, the attempts which we have clarified the special quality of the aesthetic sense of our national art since Yanagi Muneyoshi and Ko Yu-sub usually starts from discovering the special quality of the aesthetic sense of our national art from a root that is called "nature". The object of this paper is to deprive related concepts from a preceding research about "nature" and to understand how those concepts affect our national traditional art as certain formative quality. And we have attention to the relation between those category concepts deprived about "nature" and a "nature" concept which is mentioned by East Asian especially Korean, Chinese, and Japanese or the related concepts, for example inactivity(無爲) or absence of the worldly desires(無心). Till now, most of discussions that the special quality of Korean beauty is in "nature" have illustrated the special quality of Korean beauty is the natural, unartistical "simplicity". And by "artless art" or "unplanned plan" not only imperfection and disharmony are expressed but also desolateness, cheerfulness, wit and humor are shown. Also, the beauty of this kind of relaxed freedom is often referred to the state of absence of the worldly desires. However, the quality of nature considered as a category of Korean beauty is "the absence of the worldly desires" as a transcendental state of intellectuals rather than "the absence of the worldly desires" as a primitive mental state of simple and honest people. At this point of view, "the absence of the worldly desires" of Korean beauty regarded as the root of nature has a more close connection with Buddhist than Taoism. Nevertheless we should think the connection with Taoism because the process repeating same works represent free and natural beauty in folk paintings of Josoen or works of craftsman. In Taoism, the accumulation of empirical acts by mastering skills is the key to reach human completion. And it is the different relation from landscapes or black-and-white drawings for intellectuals to enlighten their characters.