書畵藝術 表現形式에 있어서 ‘陰陽對待 美學槪念’의 예술철학적 의미 -<歲寒圖>와 <谿山無盡>의 筆墨法과 構圖法을 중심으로- = An Implication of Philosophy of Art for Ying-Yang Aesthetic ‘Coincidentia Oppositorum’ in Expression Style of the Art of Calligraphic Works and Paintings -Focusing on the Brush and Chinese Ink Method and Composition Method of <Sehando> and <Gyesanmujin

다국어 초록 (Multilingual Abstract)

This study is to contemplate the implication on the philosophy of art innate in the expression style for the Oriental calligraphy and painting art.
Numerous calligraphy and painting artists in art history attribute to the fact that ‘Hwado (right of way for painting’ and ‘Seodo (right of way for calligraphy)’ are in the brush and Chinese ink experience under the practice creative work process, and with respect to the brush and Chinese ink experience, the exquisiteness of the aesthetic principle of creative calligraphy and painting work is in the principle of ‘one yang and one ying’. In this aspect, some of the earlier studies disclose that the aesthetic characteristics for the calligraphy and painting art are in the ying-yang aesthetic harmony. However, with respect to the brush and Chinese ink experience under the practice creative work process, there is hardly any study that empirically verifies on what the ying-yang aesthetic principle really implicates the aesthetic boundary in details. In this regard, this study contemplates detailed implication of the brush and Chinese ink experience that is implied by Hwado and Seodo that many creative calligraphy and painting workers empirically perceived by the practice creative work process.
The Oriental calligraphy and painting art has structured its unique expression style that is different from the western paintings through a long period of time. The calligraphy and painting art may display difference depending on the personality of the painting sector or individual artist, but compared to the contemporary western art, it is formulated in succinct and plain style to contain its consistent aesthetics within the great scheme of things. Content of art is contained in its style that the contents contained within may be presumed through the style. This researcher considered that the aesthetic boundary would be confirmed by analyzing the expression style since the aesthetic boundary felt by the calligrapher in the actual brush and Chinese ink experience process to be contained within the expression style. However, there is hardly any study that analyzed on expression style or formative aesthetics of the calligraphy and painting art.
Accordingly, this study is intended to analyze the formative beauty of brush and Chinese ink method and composition method for the painting and calligraphy works and taken a look at the innate philosophical implication in a way of clarifying the meaning of exquisite ying-yang aesthetics felt by the creative calligraphy and painting workers in the process of brush and Chinese ink experience. As for the concrete work products, there are <Sehando>, the literary painting, and <Gyesanmujin>, the calligraphy work of Chusa in a way of analyzing the principle of brush and Chinese ink method) and composition method displayed thereof. In this process, it is confirmed that the ‘ying-yang aesthetic coincidentia oppositorum’ is working within the expression style of composition method or brush and Chinese ink method of the calligraphy and painting art and it contemplates the implication of the philosophy of art that influences on the calligraphy artist in the actual creative work process.
The study outcome is shown as follows. The concept of ying-yang aesthetic coincidentia oppositorum has certain movement to display the intrinsic appearance of universal nature and all things unyieldingly move and change. The characteristics of the ‘coincidentia oppositorum’’ concept is that it is not a fixed principle but is the change every moment of time depending on the relative relationship. The intrinsic implication of the ying-yang aesthetic coincidentia oppositorum’ is difficult to define clearly in language or concept that it could be even clearer by personally experiencing it through the creative work of Chinese ink operation rather than the written knowledge. Therefore, it affirms that numerous creative calligraphy and painting work자s p...

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