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    동양화 창작론에서 ‘신’개념에 대한 고찰 = A Study on the Concept of ‘Xin' in the Chinese Traditional Painting Theories

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    https://www.riss.kr/link?id=A104113165

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    We could recognize that the basic explaining ways of painting of China was form and ‘Xin’ concepts by searching Chinese painting theories, which was records about ancient oriental paintings. According to painting theories, ‘Xin(神, spiritual being)’, which had been talked for more than 1000 years, was important concept. Ku K'aichih thought that the most important thing in a portrait was expressing the person’s ‘Xin’, and the spiritual being was located in the center of eyes. Otherwise, to Shiht'ao he used for ‘Xin’, as artist's creative ability. In my opinion, ‘Xin’ which was mentioned in painting theory, had various hidden meanings. So I investigated the hidden meanings that were mentioned in Chinese painting theories by finding and analyzing the concept. Examine essay on painting more precisely, we find various aspects of ‘Xin’ actually.
    In this paper, I had an assumption that ‘Xin’ had equivalent meaning for originality. At first, I sought the examples of ‘Xin’ used as a meaning of originality in their essays on painting. Second, I analyzed the details on the ‘Xin’ more clearly, and revealed the term ‘Xin’ implied characteristics of originality as artwork should possess. According to my result the concept of ‘Xin’ became more clear and accurate to us.
    To integrated, I thought the schema of the concept ‘Xin’ and originality were resemble in some points. First point is both were the creation goal in the context of painting. second point is both were derived from object with mind and third point is to get both were absolutely depended on artist himself, at this time the state of artist's mind is free everything ready-made. I think when they make their artwork, they constantly observe and pay attention to their object for real. through observation and attention, they communicate with object at last, see object their own eyes. The result of these process, they paint artwork to display originality.
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    We could recognize that the basic explaining ways of painting of China was form and ‘Xin’ concepts by searching Chinese painting theories, which was records about ancient oriental paintings. According to painting theories, ‘Xin(神, spiritual be...

    We could recognize that the basic explaining ways of painting of China was form and ‘Xin’ concepts by searching Chinese painting theories, which was records about ancient oriental paintings. According to painting theories, ‘Xin(神, spiritual being)’, which had been talked for more than 1000 years, was important concept. Ku K'aichih thought that the most important thing in a portrait was expressing the person’s ‘Xin’, and the spiritual being was located in the center of eyes. Otherwise, to Shiht'ao he used for ‘Xin’, as artist's creative ability. In my opinion, ‘Xin’ which was mentioned in painting theory, had various hidden meanings. So I investigated the hidden meanings that were mentioned in Chinese painting theories by finding and analyzing the concept. Examine essay on painting more precisely, we find various aspects of ‘Xin’ actually.
    In this paper, I had an assumption that ‘Xin’ had equivalent meaning for originality. At first, I sought the examples of ‘Xin’ used as a meaning of originality in their essays on painting. Second, I analyzed the details on the ‘Xin’ more clearly, and revealed the term ‘Xin’ implied characteristics of originality as artwork should possess. According to my result the concept of ‘Xin’ became more clear and accurate to us.
    To integrated, I thought the schema of the concept ‘Xin’ and originality were resemble in some points. First point is both were the creation goal in the context of painting. second point is both were derived from object with mind and third point is to get both were absolutely depended on artist himself, at this time the state of artist's mind is free everything ready-made. I think when they make their artwork, they constantly observe and pay attention to their object for real. through observation and attention, they communicate with object at last, see object their own eyes. The result of these process, they paint artwork to display originality.

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    참고문헌 (Reference)

    1 張彦遠, "중국화론선집" 미술문화 2002

    2 徐復觀, "중국예술정신" 동문선 1990

    3 곽희, "임천고치" 문자향 2003

    4 손보미, "동양화의 ‘사신(寫神)’ 개념 변천에 대한 연구" 한국조형교육학회 (30) : 143-162, 2007

    5 金容沃, "石濤畵論" 통나무 2002

    6 郭若虛, "圖畫見聞誌" 시공사 2005

    7 성백효, "周易傳義" 전통문화연구회 1998

    8 兪劍華, "中國歷代畵論Ⅰ" 다운샘 2004

    9 叶朗, "中國美學史大綱" 上海人民出版社 2001

    10 Michael Sullivan, "The ARTS of CHINA, 4th" University of california press 1999

    1 張彦遠, "중국화론선집" 미술문화 2002

    2 徐復觀, "중국예술정신" 동문선 1990

    3 곽희, "임천고치" 문자향 2003

    4 손보미, "동양화의 ‘사신(寫神)’ 개념 변천에 대한 연구" 한국조형교육학회 (30) : 143-162, 2007

    5 金容沃, "石濤畵論" 통나무 2002

    6 郭若虛, "圖畫見聞誌" 시공사 2005

    7 성백효, "周易傳義" 전통문화연구회 1998

    8 兪劍華, "中國歷代畵論Ⅰ" 다운샘 2004

    9 叶朗, "中國美學史大綱" 上海人民出版社 2001

    10 Michael Sullivan, "The ARTS of CHINA, 4th" University of california press 1999

    11 손보미, "Originality of Artwork in ancient east-asian painting" 2008

    12 이동철, "21세기의 동양철학" 을유문화사 2005

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    학술지 이력

    학술지 이력
    연월일 이력구분 이력상세 등재구분
    2027 평가 재인증평가 신청대상 (재인증)
    2021-01-01 등재 등재학술지 유지 (재인증) KCI등재
    2018-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2015-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2011-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2009-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2007-01-01 등재 등재학술지 유지 (등재유지) KCI등재
    2006-07-24 학회명변경 영문명 : Society For Art Education Of Korea -> Society for Art Education of Korea KCI등재
    2005-06-15 학술지등록 한글명 : 조형교육
    외국어명 : ART EDUCATION REVIEW
    KCI등재
    2004-01-01 등재 등재학술지 선정 (등재후보2차) KCI등재
    2003-01-01 등재 등재후보 1차 PASS (등재후보1차) KCI등재후보
    2002-01-01 등재 등재후보 1차 FAIL (등재후보1차) KCI등재후보
    2001-01-01 등재 등재후보학술지 선정 (신규평가) KCI등재후보
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    학술지 인용정보

    학술지 인용정보
    기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
    2016 0.86 0.86 0.84
    KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
    0.82 0.76 0.941 0.28
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