论中国书法美学文化特质下的写意精神

贾,长,庆,(Jia, Chang-Qing),張志熏(Jang, Ji-Hoon) 한국서예학회 2021 서예학연구 Vol.38 No.-

서예미학은 개념적으로 서예에 관한 일종의 심미적 연구와 미학적 사고로서 동양의 미관과 예술관을 포함하고 있다. 수천 년의 발전 과정 중, 그것은 개개인마다 내재된 심미체계이다. 이 심미체계는 수천 년 동안 비록 약간의 변화가 있었지만, 기본적으로는 여전히 중국문화에 속하는 하나의 체계를 이루고 있다. 나름의 심미적 범주가 있고, 이 체계가 비교적 잘 갖춰져 있어 일찍부터 그 실마리를 이어왔다. 즉, 인간의 정신세계이자 인간의 세계관, 가치관, 윤리관 등이다. 그것은 정신의 범주를 나타내는 것으로, 이러한 정신은 단지 하나의 기운일 뿐만 아니라 중국문화 특유의 사의정신(寫意精神)에 속한다. 중국의 전통미학은 데이터나 형식, 객관적 세계에 대한 이런 방면에서 기계적으로 묘사되지 않고, 자신만의 문화적 특질과 사의성(寫意性)을 지니고 있다. 중국의 전통미학은 유가, 도가, 불가나 이소의 미학 등 어떤 것을 막론하고 공통된 특징이 있다. 즉, 주관적인 마음의 느낌과 표현을 강조하고, 사의와 감정을 추구한다. 중국예술은 ‘서미앙연(書味怏然)’을 말하고, ‘정확한 재현’을 말하는 것이 아니라 ‘신사(神似)’를 주장하며, ‘不似之似’, ‘遺貌取神’, ‘離形得似’, ‘忘形得意’, ‘忘形而得神’ 등을 중시한다. 아울러 ‘先賢書律我書狂’, ‘世間無物非草書’라는 말이 있다. 그래서 중국서예의 미학에서 가장 중요한 문화 특질 중 하나가 바로 사의정신인 것이다. Calligraphy aesthetics, conceptually speaking, is a kind of aesthetic research and aesthetic thinking about calligraphy art, including the oriental aesthetic view and artistic view. In the course of thousands of years development, it is an almost closed aesthetic system of its own. Although this aesthetic system has undergone some changes in thousands of years, it basically belongs to a system of Chinese culture. It has its own aesthetic category, and this system is relatively complete, and it appeared at a very early time. It is people s spiritual world, people s world outlook, values and ethics. It embodies something in the spiritual category. This spirit is not only a kind of charm, but also a freehand spirit unique to Chinese culture. Chinese traditional aesthetics does not describe the objective world mechanically from the aspects of data, form and so on. It has its own unique cultural characteristics and freehand brushwork. Chinese traditional aesthetics, whether Confucian, Taoist, Buddhist or Chu Sao aesthetics, have a common feature: they emphasize subjective feelings and expressions of the soul, stress freehand brushwork and emotional sustenance. Chinese art, talking about the book is full of flavor , instead of accurately reappearing , advocates likeness , talks about unlike likeness , and talks about taking god from appearance , being like from shape , being complacent and getting god from shape ; It s good to put on a feint, to give in to chaos, to write Li Sao in rough clothes, to talk about the book law of the sages and my book madness, and to talk about the fact that nothing in the world is not cursive. Therefore, one of the most important cultural characteristics of Chinese calligraphy aesthetics is freehand brushwork spirit. 书法美学,从概念上讲它是关于书法艺术的一种审美研究和美学思考,包含了东方的美学观和艺术观。在几千年的发展过程中,它是属于自己的近乎封闭的审美系统,这个审美系统在几千年来虽然发生过一些变化,但基本上还是属于中国文化的一个系统。它有自己的审美范畴,这个系统相对比较完备,它在很早的时候就有了端倪。是人的精神世界,是人的世界观、价值观、伦理观,它体现的是一种精神范畴的东西,这种精神不止是一种气韵,它还是一种属于中国文化所特有的写意精神。 中国传统美学没有从数据、从形式、从对客观世界的这种层面上机械的描摹,它具有自己独特的文化特质和写意性。 中国传统美学不管是儒家、道家、佛家还是楚骚美学,他们有一个共同的特征:强调主观心灵感受和抒发,讲求写意,情感寄托。中国艺术,讲“书味怏然”,不讲“精确地再现”而是主张“神似”,讲“不似之似”,讲“遗貌取神”、“离形得似”、“忘形得意”,“忘形而得神”;讲“披发佯狂,屈服乱头皆好”,讲“乱头粗服写《离骚》”,讲“先贤书律我书狂”,讲“世间无物非草书”。所以说,中国书法美学最重要的文化的特质之一是写意精神。

요나 콤플렉스의 형성요인 및 극복방안 연구

贾 富 兰 ( Fu-Lan Jia ),백형기 ( Hyung-Ki Baek ) 산업진흥원 2021 산업진흥연구 Vol.6 No.3

요나 콤플렉스는 미국의 유명한 심리학자 매슬로에 의해 제안된 심리 용어이다. 요컨대 요나 콤플렉스는 성장에 대한 두려움이다. 그것은 정신 역학 이론의 가설에서 비롯된다. “사람들은 실패를 두려워할 뿐만 아니라 성공도 두려워한다.” 그것은 기회 앞에서 회피하고 후퇴하는 일종의 심리를 나타낸다. 이것은 우리가 잘 할 수 있는 것을 하지 못하게 하거나 심지어 우리의 잠재력을 탐구하는 것을 피하도록 이끄는 감정적인 상태이다. 자기실현이라는 관점에서 보면, 그것은 자기실현에 심리적 장애물이다. 본 논문은 다음과 같이 구성되어 있다. 제1장에서는 본 논문의 연구 배경과 중요성을 설명하고, 제2장에서는 이론적인 근거를 설명하고, 제3장에서는 본 논문의 연구 방법이 문학적인 방법이라고 설명하고, 제4장에서는 요나의 형성 이유를 분석한다. 다섯 번째 장에서는 요나 콤플렉스를 극복하는 방법을 자세히 설명했다. Jonah complex is a psychological term put forward by Maslow, a famous American psychologist. In short, "Jonah complex" is the fear of growth. It comes from a hypothesis in psychodynamic theory: "people are not only afraid of failure, but also afraid of success." It represents a kind of psychology of self-evasion and retreat in the face of opportunities. It is an emotional state, which leads us not to do what we can do well, or even to avoid exploring our potential. From the perspective of self-actualization, it is a psychological obstacle to self-actualization. This paper consists of the following parts: the first chapter describes the research background and significance of this paper; the second chapter describes the theoretical basis of this paper; the third chapter explains that the research method of this paper is literature method; the fourth chapter analyzes the reasons for the formation of Jonah complex in detail; the fifth chapter describes how to overcome Jonah complex.

中国敦煌舞蹈 《缘起敦煌》 的作品特性分析

乔,晨恩(Qiao, Chenen),曾德(Zeng, De),贾,露(Jia, Lu),章楚楚(Zhang, Chuchu) 한국정치사회연구소 2021 한국과 국제사회 Vol.5 No.1

敦煌舞是中国古典舞蹈流派之一,是中国古代舞蹈历史上最具民族特色 的舞蹈。融合了古代西域国家的民族舞特点,同时又具有浓郁的佛教色 彩,展现了古代中国的乐舞艺术,直接或间接地反映了古代人民的生活状 况,蕴含着中国古代舞蹈的形态和时代特征,以及中国一千多年的文化和 历史。敦煌壁画保存了大量古代舞蹈资料,为当代舞蹈家提供了创作的灵 感。舞蹈家通过对敦煌壁画舞蹈进行研究和再创作,再现了古代敦煌舞蹈 的舞蹈服装及音乐,丰富了当代敦煌舞蹈作品的内容。现如今对敦煌舞蹈 的学术研究并不多,特别是近年来对敦煌舞蹈的代表作品《缘起敦煌》的研 究是前所未有的。因此,本研究就以敦煌舞蹈的历史发展为线索,对2015 年创作演出的敦煌舞蹈《缘起敦煌》通过文献研究,案例研究,影像研究, 对《缘起敦煌》作品的特性,即对其创作背景和特性,形式和内容,音乐, 服装,道具,动作等进行分析。希望通过此次研究,进一步了解敦煌舞蹈, 包括敦煌文化悠久的历史和丰富的意义等,最终为敦煌舞蹈的传承和发展 做出贡献。 Dunhuang dance is one of the Chinese classical dance genres, and it is the dance with the most ethnic characteristics in the history of ancient Chinese dance. Incorporating the characteristics of the folk dance of the ancient Western Regions countries, and at the same time having a strong Buddhist color, it shows the ancient Chinese music and dance art, directly or indirectly reflects the living conditions of the ancient people, and contains the form and characteristics of ancient Chinese dances, and Chinese culture and history for more than a thousand years. Dunhuang frescoes preserve a large amount of ancient dance materials, which provide inspiration for contemporary dancers. Through the research and re-creation of Dunhuang mural dances, the dancers reproduced the dance costumes and music of ancient Dunhuang dances and enriched the content of contemporary Dunhuang dance works. However, there are not many academic studies on Dunhuang dance, especially in recent years, the research on the representative work of Dunhuang dance Yuanqidunhuang is unprecedented. Yuanqidunhuang looks at the creative inheritance of Dunhuang dance, and hopes to contribute to the development of related fields in the future through the systematic analysis of Yuanqidunhuang . Therefore, this research takes the historical development of Dunhuang dance as a clue, through literature research, case studies, and video research on the Dunhuang dance Yuanqidunhuang created and performed in 2015. The characteristics of the work of Yuanqidunhuang are the background of its creation. Analyze characteristics, form and content, music, costumes, props, actions, etc. It is hoped that through this research, we can further understand Dunhuang dance, including the long history and rich meaning of Dunhuang culture, and ultimately contribute to the inheritance and development of Dunhuang dance.

比较分析宗教在印巴两国民族国家构建中的作用

和红,梅(He, Hongmei),时,仅,(Shi, Jin),贾,露(Jia, Lu) 한국정치사회연구소 2021 한국과 국제사회 Vol.5 No.5

印度半岛是世界上宗教历史最悠久的区域,宗教贯穿了从古印度到英属印度,再到后来印巴分治的历史发展过程。第二次世界大战结束之后,随着世界民族解放运动热潮澎湃,再加上英属印度境内的印度教徒和穆斯林之间的对立不断激化,宗主国英国推出了《蒙巴顿方案》来承认穆斯林建立独立政权的权力,这最终导致印度于1950年正式构建了民族国家,紧接着1956年巴基斯坦构建了共和国。宗教因素对印巴两国的民族国家构建,以及对建国后的从政治经济等各个领域都起到了重要的作用。本文在比较分析印度教对印度建国的作用和伊斯兰教对巴基斯坦建国的作用后,论证了宗教在印巴两国民族构建作用方面的相同点和差异性。本文发现了宗教是印巴两国构建民族国家的思想基础,但在凝聚力方面存在明显差异;宗教思想不同程度的影响了两国的国家政策和施政纲领;宗教还不同程度的强化了两国各民族对于国家的认同感。 The Indian peninsula is the region with the longest religious history in the world. Religion runs through the historical development process from ancient India to British India, and then to the partition between India and Pakistan. After the second world war, with the booming of national movement for emancipation, coupled with British India suffering from intensified confrontation between hindus and muslims, suzerain Britain introduced the ‘Mountbatten Plan’ to admit Muslim to establish a separated regime, which ultimately led to the construction of India nation-state in 1950, and the formation of Pakistan followed in 1956. Religious factors played an important role in the nation-state construction, as well as in various fields including politics, economy and so on after the establishment of the two countries. After a comparative analysis of the Hinduism’s role in the founding of India and that of Islam in the founding of Pakistan, this paper demonstrated the similarities and differences of religions’ roles in India and Pakistan. As a result, this paper found that religions were the ideological basis for both India and Pakistan to build a nation-state, but there are obvious differences in cohesion. Religious thoughts have influenced the national policies and administrative programs of the two countries in different degrees. Religions also more or less have strengthened the sense of national identity of each ethnic group in the two countries.