眞景山水畵와 朝鮮性理學

智順任(지순임) 고려대학교 한국학연구소 2009 한국학연구 Vol.30 No.-

眞景山水畵는 통상 反朱子學的인 實學文化의 소산이라 생각 하였던바 근래 새로운 자료의 발굴과 연구를 통해 朝鮮性理學의 사상적 근거로 창안되었음을 認識하게 되었다. 이에 따라 眞景山水畵와 朝鮮性理學의 관련을 밝혀 본 논문인데, 우선 자연을 보는 방법에서부터 朝鮮性理學은 ‘卽物窮理’와 ‘天人合一’의 미적경계를 감수하려면 직접 사물에 나아가 그 理致를 탐구하기에, 實景을 직접 보며 眞面目을 그려내는 眞景山水畵와 같은 관점임을 알 수 있다. 또한 眞景山水畵를 창안한 謙齋는 朝鮮性理學의 朝鮮中華意識을 몸소 실천한 三淵의 제자였고, 또 같은 門下의 ?川은 眞景詩의 거장으로 60여 년을 詩畵換相看할 정도로 절친한 관계이어서 사상적으로 깊게 연결되어 있고, 그림도 이들과 같은 정서로 그렸기에 자연스럽게 朝鮮中華意識이 美意識으로 작용했을 것이다. 실제 眞景山水畵작품에서도 구도는 『周易』의 陰陽 원리를 적용하여 화면을 구성했고, 畵法도 實景의 이치를 파악하여 金剛山이라면 그 많은 봉우리의 趣를 상징할 수 있는 ‘卽物窮理’의 理를 통해 謙齋?을 창안하였음이 발견되고, 謙齋의 氣質은 天機的 性情과 理가 조화되어 畵家로서의 天才性을 발휘한 것으로 볼 수 있다. 그러므로 眞景山水畵에서 ‘眞’ 의미는 朝鮮性理學에서 ‘理’와 같은 맥락임을 밝힌 내용이다.

동양의 미 인식을 위한 미술교육 방법론

지순임(Chee Soon-Im) 한국미술교육학회 2006 美術敎育論叢 Vol.20 No.2

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. 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.

중국 山水畵의 始原

지순임 상명여자대학교 1982 상명대학교논문집 Vol.10 No.-

시민 아파아트 아파아트 생활과 생활개선

지순 대한지방행정공제회 1969 도시문제 Vol.4 No.8

N/A

3세대 주택의 개발방향

지순,Ji, Sun 대한건축사협회 1986 建築士 Vol.1986 No.10

『中麓畵品』을 통해 본 明代 浙派繪畵의 후원양상

지순임 미술사학연구회 2006 美術史學報 Vol.- No.26

中麓畵品을 통 해본 明代 浙派繪畵의 後援樣相 Examining the Support for the Zhe School in Ming China through Chinese Painting

한국예술의 해석 가능성 : 한국미술에 나타난 美의 탐색

지순임 한국미학예술학회 2000 美學·藝術學硏究 Vol.11 No.-

韓國 山水畵의 美的 特質

지순임 한국미학예술학회 1999 美學·藝術學硏究 Vol.10 No.-

가치교육의 미학적 접근

지순임 상명대학교 학생생활연구소 1992 학생생활연구 Vol.- No.9

Man is not only a cognitive being with understanding, reason and sensibility but also a value-oriented being toward the highest good. That is, man tends to choose and love that part of science, living, art, etc. Which he thinks is valuable in leading a life. So the value he has is likely to have more effects on human behavior than on cognition. Value lies in human behavior and education seeks a desirable change in human behavior, so that value education has an important part to play in the culture of human nature. The goal of this research is to consider value education from an aesthetic point of view. The results are: First, we could see that value education helps one have sentiments worthy of man and grow into a man of culture and morality. Here sentiments become mature by sensible cognition which in turn lets one choose between good and bad, or beautiful and ugly. Second, value education can be given either in the form of art or through art itself. The former method leads one to reach the values of truth and goodness which are the substance of beauty, and ultimately to have the right sense of value, being awakened to morally good sentiments and human dignity, whereas the latter method leads one to have the desirable sense of value by acquiring gentle sentiments through the direct education of art including music and fine arts. Third, form the standpoint of humanistic aesthetics, value education is far more significant in that it contributes to heightening the quality of life. While ethics deals with human behavior i.e. how one should judge, plan and act in the light of reason, aesthetics deals with that part of human nature which has to do with one's likes and dislikes as well as one's feelings for beauty, loveliness and delight. After all, desirable value education helps one form one's outlook on life and the world on the basis of the components of rational morality. But since this sense of value typically presupposes the sentiments one shares with others, it is “known” only through sensible cognition such as intuition, insight, emotional oneness, or empathy. Thus, as a science of sensible cognition aesthetics helps create the right sense of value, heightening the quality of value and thereby increasing the chances of success of value education.

中和論

智順任 상명대학교 학생생활연구소 1989 학생생활연구 Vol.- No.7

Looked at somewhat closely, the present age seems to be dominated by thinking that tends to go to extremes. This is because the analytical thinking of the West prevails today. Under the circumstances, human sentiment has deteriorated to such a point that it is hard to live a life worthy of a human being. The dearth of human setiments is particularly painful because, if one, deprived of them, had only high intelligence, he would be nothing more than a robot and not a true man. That accounts for the urgent need that richer sentiments of life ought to be nourished. It is to be noted in passing that if such sentiments are to please and harmonize one's surroundings, they must be brought under strict control. The theory of supreme harmony is one of the theories of value being expected to solve these problems which I assume stem from disharmony between the theory of desirable life and its practice. Examining the theory of supreme harmony from a humanistic point of view, I have found that the concept of supreme harmony is a state in which “equilibrium” and “harmony” exist in harmony: the one is the state of the mind with such feelings as pleasure, anger, sorrow, and joy, and the other is the state of the human actings that expresses, according to the Heaven's will, the feelings that are rooted in universal goodness. The spirit of supreme harmony is completely in accord with that of the happy mean, so that it means essentially the same as the value obtained when the five virtues of Confucianism-benevolence, righteousness, propriety, wisdom and sinceity-are in practical harmony with the spirit of the doctrines of which superior man is in pursuit. Though expressed in a different term, the middle path of Buddhism, on which ariyo atthangiko maggo and ca￣ttari ariyasa cca￣ni converge, also agrees in its import with the spirit. In short the spirit of supreme harmony is all religions internalized that ultimately seek a good life. By examining how the principle of supreme harmony develops practically, I have shown that beauty exists with order and harmony as its realizing principles and that it extends to three realms-nature, man and art. And real beauty is not so much the sensual beauty of the exterior but rather the beauty which is beased on the true and the good realized through one's behaviors and which embodies the virtue of modesty for others' happiness and devotion dwelling in a loving heart. And the beauth of art, being the beauty of the nature externalized with human spirit, is also a case where the principle of supreme harmony is developed practically with an aesthetic value. In particular, the Oriental Art does not lie in the aquisition of the mere skill or technique of an artist but in the pleasure in life accompanied by the efficacy of art with which culture is nourished and character is polished for the benefit of mankind. So ancient scholars or men of letters of the Orient took pleasure in the beauty of the mysterious while enjoying poetry, calligraphy, painting, or music as a noble pastime, and used it as a tool to cultivate character. This traditional vein can be seen in the present age as well. To sum up, if one is to live realizing to the full the principle of supreme harmony, suppressing the feelings and expressing beautiful sentiments there by, one ought to cultivate one's culture and character. The cultivation of character is to be accomplished by nourishing human sentiments, and the cultivation of human sentiments in turn is believed to be obtainable through art. Living as we do in the present age which requires a high degree of introspection, we should endeavor to make our lives happy in harmonious human relations by reviving the Oriental root of our mind beautiful and good rather than the extreme theories of thinking and value. This is the true meaning of the theory of supreme harmony.