동양의 미 인식을 위한 미술교육 방법론 = Art Methodology Research for Understanding Oriental Aesthetics

국문 초록 (Abstract)

본 연구는 급변하는 현대사회에 적응하느라 마음의 여유가 적어진 청소년들에게 동양의 미 인식을 올바르게 하여 바람직한 정서를 갖게 하기위한 미술 교과 교육 방법론을 제시한 내용이다. 동양에 있어서 미란 외관의 감각적 현상의 미뿐만 아니라 인격적 정신이 내면현상으로 드러나는 인간의 마음까지를 포함하는 미를 말하기 때문에, 동양의 미는 인격도야를 통하여 체득함을 강조한다. 이 아름다움은 유가의 중화(中和), 불가의 중도(中道), 도가의 허실상생(虛實相生)과 같은 실천적 원리를 통해 이룰 수 있는데, 이 실천방안으로 동양회화의 여백을 통해 동양의 미를 바르게 이해시키는 미술 교과수업을 통해 청소년들이 교육적인 체험학습을 할 수 있도록 방법론을 제시하는 연구내용이다. 그리하여 좋은 인성을 함양하여 생활 속에서 여유를 발견하도록 하는 내용으로 초점을 맞춘 세 유형의 여백인식 학습을 통해 미적 체험을 할 수 있도록 연구하였다.

다국어 초록 (Multilingual Abstract)

This research offers art education methodologies for teaching young adults in a contemporary society where they lack a peace of mind, trying to keep up with the ever-changing times. The accurate understanding of Oriental aesthetics will encourage a healthy emotional development in them.
Emphasize that beauty in Oriental aesthetics is acquired through the maturation of personality, because beauty is not just a visual and sensual phenomenon, but also incorporates the human mind that reflects the mental state. The research focuses on providing young adults with an aesthetic experience through art education based on the principles of actual practice for achieving true supreme harmony (中和), moderation (中道), and inter-promotion (相生). Thus, the purpose of the research is to offer a methodology of aesthetic experience in accordance with studying Oriental painting as part of an educational method emphasizing on individuality.
The value of a Oriental painting is often determined by ‘graceful liveliness,’ and the works are unique for expressing ‘graceful liveliness’ even in empty spaces. The spacial emptiness is a space of thought for the artist and the viewer, a combination of existence and nothing for it is an embodiment of existence as an actual space for the object, incorporating the practical ideology for acquiring supreme harmony (中和) and interpromotion (相生). Therefore, empty space is the fundamental element of the style of Oriental painting, for it includes the practical ideology for promoting Oriental aesthetics.
The plan is to provide an understanding of Oriental aesthetics through the concept of empty space in painting as a creative field for both the artist and the viewer, and an open concept including both the non-existing and existing space, and that both spaces are in an inter-promotional relationship.
The 1st education plan concerns the empty space of a painting which nothing painted on the entire half portion of the surface, and is intended to promote aesthetic vision, artistic expression, aesthetic writing skills, contemplative ability, and team work through appreciating art and understanding that the empty space is a space for thought and an open concept. The 2nd education plan is an art appreciation study to understand that the spaces of nonexistence and existence are one through the example of the depiction of water in painting by painting nothing on where the water should be, yet still expresses water. The students will discuss the idea of stylishness in Oriental life and combine it with music, nature, and literature education. The 3rd education plan allows the students to think for themselves while discussing the ‘all is right’ idea of Minister Hwang Hui, and understand that the painted and un-painted sections of a painting appear to contradict each other, but actually are in an inter-promotional relationship.
The above-mentioned art education plans are significant as a first-time attempt on its field based on Oriental education methodologies.

목차 (Table of Contents)

• 〈요약〉
• Ⅰ. 머리말
• Ⅱ. 동양의 미인식
• Ⅲ. 동양에서의 미적 체험
• Ⅳ. 동양적 미적 판단에 의한 예술 창작론
• Ⅴ. 동양의 미 인식을 위한 미술교육방법의 모색
• Ⅵ. 맺음말
• 【참고문헌】
• 【Abstract】

참고문헌 (Reference)

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2 지순임, "중국화론으로 본 繪畵美學" 미술문화 2005

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9 조용길, "中道의 世界" 14호 : 4-, 1988

10 황의동, "「유교의 미학」. 「밤나무골이야기」." 한국율곡학회 21 (21): 2003

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