최제우의 세계인식(世界認識)을 통한 민중미술의 미의식(美意識)연구 = A Study on the Aesthetic Consciousness of Minjung Art through Choi Je-u’s World Perception

다국어 초록 (Multilingual Abstract)

Choi Je-u presented a few perspectives while explaining the meaning of the character ‘Si(侍)’ of ‘Sicheonju(侍天主, serving the heavenly God)’. The first is a perspective on human beings of mind[心, emphasizing mind] through ‘Naeyusillyeong(內有神靈, having the divine spirit inside)’. The second is a perspective on nature of life[生, respecting for life] through ‘Oeyugihwa(外有氣化, harmonizing with the energy of heaven outside)’. The third is a perspective on morality of service[侍, unifying all things]’ through ‘Gakjiburi(各知不移, recognizing that human is heaven and having an attitude to put it into practice). In this paper, considering these three perspectives as the characteristics of his world perception, I examined artistry based on them.
Choi Je-U considered that nature and human as an equal relationship that cannot be superior to each other saying that the Heaven mind is the very Human mind[天心卽人心]. It is because he thought that human and the universe cannot be thought of separately and each other itself refers to the other. Based on the perspective on human being of Naeyusillyeong(內有神靈), Park Saeng-gwang acknowledged the shamanic value of the mediator who connects the heaven and humans in < Mudang 12(Shaman 12) >, and O Yun realized the aesthetics of ugliness(醜) through the dokkaebi in < Natdokkaebi(Daytime Goblin) >. In the same context, in addition, Chusa Kim Jeong-hui’s < Panjeon(板殿) >is the art work that completed the aesthetics of abnormality(怪). Choi Je-U also argued that the principle of completing the law of calligraphy lies in one mind.
In addition, Choi Je-u regarded the energy of life as an aesthetic value and respected for it based on the perspective on nature of ‘Oeyugihwa(外有氣化)’, and that was found through the representation of respecting for the earth that was foundation of human beings in Shin Hak-cheol's < Monaegi(Rice Transplantation) >. In addition, Kang Yo-bae, through the pi hexagram(天地否卦), embodied the fact that humans managed to cling on to life in a situation where the principle of life of yin and yang is collapsed due to the gap between the nature(human) symbolized as farmers and the material civilization. In addition, O Yun showed the feeling of movement through the simplification of the shape using a sword in < Bukchum(Drum Dance) >, and Park Saeng-gwang showed life force through the contrast of our original color sense in < Tohamsan Haedoji(Sunrise of Mt. Toham) >.
Lastly, Choi Je-u had the perspective of morality of ‘Gakjiburi(各知不移)’ that everyone should recognize that human is heaven and have an attitude to put it into practice. Through his perspective of morality, we can see that he considered the pursuit of peace through solidarity as an aesthetic value. Hong Seong-dam contains a dream for a world of peace in which all people become one transcending all kinds of discrimination and violence through solidarity in < Daedongsasang(Thought of Great Unity > and < Hwaetbulhaengjin(Torch March) >. Moreover, O Yun’s < Kalnorae(Sword Song) > and Park Saeng-gwang’s < Jeon Bongjun > contains the ideological background of the struggle for democracy and human rights. They tried to deliver the message of Great Unity and lead the people into the right path through the works with their devotion based on Choi Je-u’s thought of arguing to recognize the dignity of all things and to respect it.