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박낙규 한국미학회 2000 美學 Vol.28 No.-
There are 2 school of thoughts concerning the relationship between language, yen (言) and one's inner ideas and emotions, yi(意). Confucian school like Hsun Tzu(筍子), Record of Music(樂記) states that language can fully express a person's emotions and thoughts. The Taoist, however, asserts that such a possibility does not exist. The problems between Yen and yi has always been present but the issue intensified during the Wei-Chen(魏晉) dynasty in the 3rd century. Wang Pi(王弼) states that in order to completely understand and solve what yi is, one should not excessively concentrate on the physical form of language, but transcend up from the language's physical form to its essence and absoluteness, that is to say, the yi. Such a movement will allow one to recognize the ultimate reality of non-being and understand the essence of the universe. The progressive movement of the Buddhist thought in China led the way in creating this question as one of the key points in philosophy and religion. Chih Tao lin(支道林) asserted that the yi is transcendental and thus unreachable by human language Paradoxically, this will lead one to the ultimate reality, the infinite universe. In the Sung dynasty, as the tension between Tao(道) and Wen(文) began to grow, so did the question concerning language and expression of the inner world between the Neo-Confucianists and the spiritualistic literati. During the period in which the Neo-Confucianists were dominant it was asserted that Wen is nothing but the conveyer of Tao. Su Shih(蘇軾), however, supported the idea that Wen has its own autonomy, and the linguistic expressions are enevitably and essentially 'metaphoric'. Su Shih further suggested that one cannot reach Tao on the sole basis of pure logic and reasoning. Thus, the intimate union with the ultimate reality cannot be conceptually and rationally explained. The union is available only by approaching very closely to the Tao by metaphorical expression of language(Si 似). Ku Kai-chih(顧愷之) and Tsung Ping(宗炳) suggested that the artist, in his paintings, should not remain static in the realm of reality(Hsing 形), but further develop the creative process so that the painting will ultimately contain a spiritual value(Shen 神). For Liu Hsieh(유협) and Ssi Kong-tu(司空圖), the poetic yi does not exist within the poetic language but along side of it. So, though the language of the poetry ends once it has been recited, the essence and the elements such as its images, still lives in the listener's mind. This is the most valuable aspect of the poem, the creation or life of the image that is given to the reader through the poem's language. The empty spaces in Chinese calligraphy between the painted parts are not just spaces from the discontinuity of the brush strokes, rather it is a bridge that gaps the individual strokes together creating the artistic form and meaning. Thus, the empty space ultimately performs as an aesthetic function that provides the higher synthesis of two different types of elements, as the yin and the yang work together in the universe. As the landscape painting develops, the meaning and function of its empty spaces play a central role. In certain kinds of paintings, such as "one corner paintings" (Yi Chiao Ma 一角馬), more than half of the painting is empty. Here, the emptiness signifies the painting's "fogginess". Through the existence of empty spaces, the beholder can imagine such presences as a deep valley or a bridge, or a temple etc... Hence, behind the painting's "fogginess", the beholder is given infinite pleasures from such imaginings. This is the crux of the aesthetic experience in traditional China. The aesthetic meanings of the empty space are in two folds: 1) One can discover the fundamental elements of strength and meaning in one's life and universe (Chiyun 氣韻) in the rhythmical form of mountains and valleys in the painting, 2) Through the limited space in canvas, one can enjoy a sense of infinity. Such definitions have long been enjoyed by the Chinese literati. The possibility of accomplishing, through the metaphorical way, the intimate union with the ultimate reality has been suggested by philosphers like Su Shih who, as mentioned earlier, believed that the idea and emotions cannot be fully expressed by the human language.