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정병모 慶州大學校 慶州文化硏究所 2006 慶州文化硏究 Vol.8 No.-
Silla art went through many changes through a century, but there is a tradition that has not changed. It is the "preference for simple shape and the belief which considers divine image as beautiful." The former is the taste of Silla people and the latter is Silla people's faith in shape. Especially, the beauty of simplicity was pointed out by many scholars, and it established the common ground of Silla art. This represented Silla people's aesthetic sense of respecting the nature rooted in the nature. Minimizing artificial elements while bringing out natural elements is an important characteristic of Silla art. Changes by period in Silla art are examined in the aspects of the introduction of the art of northern countries, the influence of Buddhist art and the new trend of unified Silla. The foreign art which brought changes in Silla art for the first time was the art of northern countries As the art of northern countries was introduced to Silla, the original aesthetic sense of Silla which emphasized simplidty was changed to take on the trend of abstract beauty. I called this, the 'Abstract Realism.' Buddhism was introduced in Silla in 527, and it brought enormous changes to Silla art. While influenced by the Buddhist art of Goguryeo and Baekje, Silla developed international sense of art. In the 6th and 7th centuries, Silla art displayed a wide variety of styles from the kind image of Buddha which approached the public quite closely to the representation of the metaphysical world. Silla art, influenced by the early Buddhism, can be summarized into the 'World of Humanism' for it has the familiar and humane disposition. The unification of three kingdoms brought more changes to Silla art. While it followed the 'Ideal Realism Style' which was the common style of the East Asia including Tang, it incorporated the traditional sense of respecting the nature with the humanism of the ancient Silla to create a unique aesthetic sense of Silla. Silla art has both simplicity and internationality obtained through the introduction of foreign culture. The simplicity is generally found in the early stages of history and is usually pushed aside or disappears when advanced and exotic sense of art is introduced, but it was kept even after the unification. This shows that Silla people preferred the beauty of simplicity as much as the beauty of refinement. In this aspect, the decorativeness of Hwangryongsa Temple(皇龍寺) gives us great implications. Silla people accepted the world culture upon the strong foundation of folk culture. There is a famous phrase by Goethe that goes "The most ethnic is the most international." This famous phrase is well-known to everyone and is even treated as if it is a phrase in the bible. This means the most folk culture carries international value. Referring to Goethe's logic in this phrase, Silla art can be defined as the culture which sought balance between international universality and the distinctiveness. 신라미술이 천년동안 변화를 거듭하는 동안 변하지 않은 전통이 있다. 그것은 바로 "질박한 조형에 대한 선호와 영험한 조형이 아름답다고 여기는 믿음"이다. 전자는 신라인의 취향이고 후자는 신라인의 조형에 대한 신앙이다. 특히 질박미는 여러 학자들이 지적한 특징으로 신라미술의 공통적인 기반을 이루었다. 이것은 자연에 기반을 두고 자연을 숭상하는 신라인의 미의식을 대표하는 것이다. 인공적인 것을 최소화하고 자연적인 것을 드러내 보이려는 것은 신라미술에서 찾아볼 수 있는 중요한 특징이다. 시기에 따른 변화는 크게 북방미술의 전래, 불교미술의 영향, 통일신라의 새 조류로 나누어 살펴보았다. 신라미술에 처음으로 변화를 일으킨 외래 미술은 북방미술이다. 북방미술이 신라에 전래되면서 질박한 조형세계를 펼친 신라 고유의 미의식에 추상화의 경향을 띠는 변화가 일어났다. 이것을 필자는 '추상적 사실주의'라 지칭하였다. 527년 불교가 전래된 이후 신라미술은 가히 혁명적인 변화가 일어났다. 고구려, 백제 등의 불교미술의 영향을 받으면서 국제적인 미의식을 갖추게 된다. 6, 7세기에는 대중 속에 파고드는 친근한 이미지의 불상으로부터 형이상학적인 세계까지 표현하는 폭넓은 조형세계를 펼친다. 초기 불교에 영향을 받은 신라미술은 친근하고 인간적인 성향을 띤다는 점에서 '휴머니즘의 세계'로 요약하였다. 삼국의 통일은 신라미술에 또 다른 변화를 가져왔다. 기본적으로 당나라를 비롯한 동아시아의 공통적인 양식인 '이상적 사실주의 양식'을 따르면서 전통적인 자연존중의 인식과 고신라의 휴머니즘과 조화를 이루어 신라의 독특한 미의식을 구현하게 된다. 신라미술에는 토속미와 더불어 외래문화의 수용에 의한 국제미가 공존하였다. 일반적으로 토속적인 미감은 초기에 나타나다가 보다 우위에 선 외래적인 미감에 눌려 의식의 수면 아래로 침잠하기 쉬운데, 신라에서는 유독 통일된 이후까지도 토속미를 드러내었다. 그만큼 외래적인 세련미 못지않게 전통적인 토속미도 더불어 애호한 민족이 신라인인 것이다. 그러한 점에서 황룡사의 치미는 우리에게 시사하는 바가 크다. 신라인은 강한 토속문화의 기반 위에 세계문화를 받아들인 것이다. 괴테는 "가장 민족적인 것이 가장 세계적이다. "라는 유명한 말을 남겼다. 지금도 이 명구는 인구에 회자되고 심지어는 성경 구절처럼 신앙시되기도 한다. 가장 토속적인 문화가 세계적인 가치를 지닌다는 의미이다. 괴테의 논리를 신라문화에 적용하면, 국제적인 보편성과 특수성의 조화를 꾀한 문화가 신라미술인 것이다.
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정병모 부산외국어대학교 아세안연구원 2010 Suvannabhumi Vol.2 No.2
This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries’ folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.
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