동양회화에 있어서 선과 시간의 관계에 대한 고찰

김백균(Kim Baikgyun) 현대미술학회 2003 현대미술학 논문집 Vol.7 No.-

선적線的 사유 : 동양회화 예술언어로써의 선에 대한 의미 고찰

김백균(Kim Baikgyun) 현대미술학회 2009 현대미술학 논문집 Vol.13 No.-

Asian paintings are usually called as the art of line. The line became the most important element in painting through Weijin period. After middle Tang period, painters began to make pure line-drawing, and the line became the most important element to express the painters mental world. In Asia painting has a deep relation with the activity of drawing not with colouring. Jinghao who had lived from later Tang to Wudai, in his work [Bifaji], said that "Painting is drawing." Shitao who had lived from later Ming to early Qing dynasty, insisted 'One Stroke' as the theoretical base for his own painting. In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line. This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character.

신사(神思)와 상상

김백균(Kim Baikgyun) 중앙대학교 중앙철학연구소 2012 철학탐구 Vol.31 No.-

본 논문은 오늘날 상상 혹은 상상력의 개념이 근대 예술적 자각에 영향을 미쳤다면, 동북아시아의 예술의 자각시기로 이해되는 위진시기에 있어서 오늘날 상상의 개념과 같은 유사성을 발견할 수 있는지에 관한 문제에서 출발하여 ‘상상’과 예술의 자각에 관한 관계를 탐색해 보고자한다. 서양에서 근대적 예술개념의 탄생이 상상의 가치발견과 특정한 관계를 맺고 있다면, 동북아시아 예술담론에 있어서도 상상이 예술가치의 발견에 중요한 작용으로 작동하리라 생각하기 때문이다. 그러므로 동북아시아 사회에서 오늘날 상상 개념과 가장 유사하다고 여겨지는 ‘신사(神思)’ 개념의 비교를 통해 예술가치의 발견과 상상작용의 관계를 이해해 보고자 한다. 당연히 ‘신사’와 ‘상상’ 두 개념 사이에는 함께 병치할 수 없는 커다란 시공간의 차이가 있다. 따라서 이 논문은 ‘신사’ 개념 자체를 오늘날 우리가 사용하고 있는 상상과 동일시하려는 것이 아니다. 이 논문의 주요 관심은, 근대서구에서 ‘상상’이 심미적 가치를 발견하는 내재적 동인이 된 것과 같이, ‘신사’ 개념이 감각과 사유를 매개하며 현대적 시각으로 위진시대를 예술의 자각시대라고 부를 수 있도록 어떻게 그 자각의 동력으로 작용했는지, 또 그러한 전제가 가능한 것이지 이해하는 것이다. We can observe evolution of western philosophy in its discussions about imagination. The history begins from considering that which is present before vision as truth and fundamental as opposed to that which is absent as the lack of truth. In later years, the discussion evolved towards valuing absence as the key element of imagination. The meaning of ‘imagination’ at the Pre-Qin Eastern classics was mainly used for the memory or cherishing, related with “representational imagination”. As we move towards Wei-Jin period, we can observe discussions of imagination as related to artistic activities, making discussions more rich. In GuKaiZhi(顧凱之)’s QianXiangMiaoDe(遷想妙得)’, LuJi(陸機)’s ‘XinYouWanRen(心遊萬?)’ and ZongBing(宗炳)’s ‘WoYou(臥遊)’, imagination has not yet been crystalized into theories, however, considerable number of discussion about imagination emerge. We can finally see diverse debates around imagination onceptualized to one region of the Art theory after LiuXie present “spiritual thinking” at ‘WenXinDiaoLong(文心雕龍)’. This article looks into the development of views in spiritual thinking, how the schema of its appearance and the spiritual thinking made the relation to the artistic and creative realm of ‘imagination’.

예술과 전통 그리고 정체성 : 현대 한국화의 모순과 갈등

김백균(Kim Baikgyun) 현대미술학회 2006 현대미술학 논문집 Vol.10 No.-

In art, the tradition always has the ultimate task to get over it. The acquisition of tradition is only a foundation to construct one's own world since 'art' aims toshow one's own world overcoming the tradition at the end. The tradition can maintain its vitality only when it is endlessly reinterpreted and reborn. The issue of tradition is associated with the issue of identity. The issue of identity contains the subject how to reveal the attribute distinguishing from others. It also connotes a task called the possession of contemporaneousness overcoming the simple identity as spacious position that shares the same age. After the modern age, the boundaries between continents are collapsed and various mixture of thoughts are expressed. These days, how can we satisfy the possession of contemporaneousness along with expressing one's own value? The answer is also in the artistic proposition that requires the constant newness. In Korean painting, the matter of tradition is the matter of time being progressed by the diachronicness in the progress of development of history. And the matter of identity is the matter of space having the synchronic character. One is the matter of inside of the racial concept formed by the modernization, and the other is the matter of outside of the racial concept. However, these matters are ultimately one phenomenon like the front and rare side of a coin. The dichotomy of the tradition and identity is for convenience of analysis in order to see two different views on one phenomenon. And it does not mean that two matters exist separately. This is because these two matters happen on a same stage called the process of modernization. In this unbreakablerelationship of the tradition and identity, the matter of tradition is prioritized than the matter of identity since tradition provides modernistic identity. Like the matter of racial identity is artificially fabricated by the ideal of the nation-state, the matter of tradition is also standing on the value of trust and faith. 'Tradition' is a thing believed as tradition, and the value system of belief depends on whether it is valuable to provide one's current identity and social coessentiality or not. As like to decide the tradition and identity of nowadays Korean painting 1S the aspect of our life, the future of Korean painting and the understanding on the organization of society and the way of thinking are inseparably related to each other.

『書學心法問答』과 淸初의 회화사상

김백균 한국미학회 2003 美學 Vol.35 No.-

China, which had been recognized as the cultural center at least until just before modern times, ha d significant influences on the formation of Korean culture regardless of t ime although the influences might be somewhat different over time. It is hardly deni able that the development of painting in the Chosun Dynasty was also in an insepar able connection with the development of Qing's circle of fine arts. Nevertheless , for several reasons, there have been few researches on the influence of Qing on paintings of the late Chosun period and modern times. The culture of the Qing D ynasty is integrative and comprehensive. Regardless whether such a cultural nature came from the political situation of aliens' ruling or from reaction to Neo-Conf ucian metaphysical academic approaches, Qing's culture persistently took the aca demic attitude of Shishiqiushi('seek truth from facts'). Consequently, biblio graphical studies on old writings such as exegetics and epigraphy achieved unpre cedented development, and all academic thoughts were compiled and inte grated. Painting theories were not exceptional. The present study attempted to fin d the general trend of painting theories in the early Qing dynasty by examining th e viewpoint of Zijueqizhenshi(自????????) based on three topics that deal with p rinciples of functions and expression, which are the understanding of "Yizaibixian(????????)", the explanation of "Qiyunshengdong(氣??生動)" and the theory of "Waishizaohua, Zhongdexinyuan(外????化, 中??心??)", centering on Puyantu' s 『Huaxuexinfawenda』. In particular, the mention of the relationship of pen and i nk with "Qiyunshengdong" or the reinterpretation of "Jingjie" in paintings in associat ion with the heavenly secret, namely, intuition came from Puyantu's experience s of practicing, having a strong persuasive power. In addition, the interpretati on of theories of brush and ink focused on literary artists' paintings or "Qiyunshen gdong" theory, and the mention of Qing(sentiment) and Jing (scenery)are c ombined organically and keep a consistent internal trend. What makes the intern al trend consistent is his experiences of practicing. It is thought that the practica l science of Shishiqiushi, which applies existing painting theories to his own p ractice of artistic creation and emphasizes positive aspects of the theories, is th e center of Puyantu's painting theory.