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중국 고대 화론을 통해 고찰한 공간 미의식 개념에 관한 연구
조정원 ( Jungwon Cho ),신정근 ( Jeonggeun Shin ),김주연 ( Jooyun Kim ) 한국공간디자인학회 2017 한국공간디자인학회논문집 Vol.12 No.4
(Background and Purpose) Internal spaces have often been changed and recognized depending on diverse external factors. Recently, studies with a new perspective are being attempted regarding internal significance connoted in external beauty of space design based on Western thoughts. This research classified space into substance and spirit, and it established the hypothesis that spatial design is spiritual expression and phenomenon―substance―is created through forms. The study focused on the Oriental view of nature and ideology of Taoism, as demonstrated in ancient Chinese painting theory. It posited the view that the significance of spatial design is proven in of expression through forms of mutual relationships and interaction as substitutes for consciousness and phenomenon. This research covers ?sthetisches Betrachten, which analyzes space design based on an Oriental view of nature. In addition, it examines aesthetic consciousness with the internalized perspective that spatial design is created when the spirit is expressed through space and experience and phenomenon are expressed through form. (Method) The study method used in this research was as follows. First, the aesthetic origin of ancient Chinese painting theory was identified, as well as the life characteristics of painting theory and the basis of value system. Second, the researcher studied and analyzed ether (Ch`i, or matter-energy) and its role in vitality , an important concept in artistic aesthetic consciousness, as well as the relationship between substance and spirit as defined in the forms and artistic views of ancient Chinese painting theory. Lastly, the researcher studied the standard of criticism to identify conscious characteristics of spatial beauty and its connections. (Result) Space includes not just the voids themselves but the areas filled with life and space phenomenon is observed from ether (氣) to Erscheinung (象) (appearance) and also as eidos (形) (essence). Also, from the perspective of the Oriental view of world, space is not a void with the concept of emptiness (虛) but is filled with ether (氣). In this sense, the essential meaning of everything―solid, liquid, or gas―containing ether is revived, supporting the hypothesis that spatial design recognizes space as the result of aesthetic consciousness phenomenon and is related with spirit and body, or sense and experience. In spatial design, conscious phenomena connect with substances to express space and achieve more abundant aesthetic spatiality to recognize consciousness and unconsciousness and cultural forms expressed as visual images. (Conclusion) Space is where people breathe and recognize . Spatial design has been recognized and defined as dependent on diverse external factors that vary by period and society. Also, space is an intersection of thoughts recognized by connection between substance and spirit in the interaction with human beings. This study used a new system of meaning for spatial design that defined and designed the spatial aesthetic as a conscious visual beauty internalized and based on Oriental philosophy. This is a methodological proposal to study and design space and further meaningful research should be continued focusing on inward space.
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