추사와 대원군의 묵란화(墨蘭畵)에 나타난 조형심리고찰

다국어 초록 (Multilingual Abstract)

Oriental paintings of orchids or Ink Orchids are unique to oriental arts, in that the painters do
not depict the plants' literal looks, but rather describe their own thoughts and sentiments not
only to alleviate strong emotions, but to express various states of human psychology.
As art therapy emphasizes through a formative language more on one's inner images
and emotions than on one's interests or depiction of the outer world, Ink Orchids must be
the most appropriate materials through which we can approach the inner worlds of our
ancestors.
With Ink Orchids, Choosa and Daewongun showed their own philosophies or attitudes
of life as to the stern realities and, especially, their traumatic feelings toward crookedness
of their life courses. Accordingly, the purpose of this study is to compare and analyze both
persons' formative languages appeared on their Ink Orchids, in order to understand their
philosophies of life, various states of their psychology, and how they dissolved their
traumas. The comparative analysis between the two formative languages ended up with the
following results in form and content.
Frist, the lines or strokes in Ink Orchids of Choosa and Daewongun show some
difference. Choosa's lines with light ink strokes display the feeling of empty and
untightened mind, whereas the lines with dark ink of Daewongun exhibit poignancy through
various changes in line thickness.
Second, there is difference in composition of their drawings. Choosa chooses a stable
composition achieved by horizontal axis, while Dawongun favors a vertical axis to express
tension and strong sentiments.
Third, the drawing methods they employed in their Ink Orchids are also different.
Choosa's drawing methods are based on ornamental characters, but Daewongun's methods
are based on cursive style with long downward strokes of the brush.
Fourth, Their attitudes of life do show some difference as well. Choosa wanted to lead
a quiet and contemplative life after realizing our life's emptiness and transience during his
exile. Dawewongun, on the other hand, was tenacious until the time of his death in
pursuing the political power ceaselessly even after many failures. These different life
attitudes of the two men are easily detectable in the difference of their Ink Orchids.
Key Words: Formative Psychology, Ink Orchids, Symbolism, Thought-Depicting Expression

참고문헌 (Reference)

1 "蘭竹の 描法と 名畵" 秀作社 2003

2 "흥선대원군 이하응의 예술세계" 일지사 2004

3 "함께 배우는 우리 미술" 예경 2003

4 "한국회화사용어집" 한국정신문화연구원 2003

5 "한국화 기법총서1 사군자/난초" 예경산업사 1991

6 "한국채색화기법" 도서출판 재원 2002

7 "한국성을 바탕으로 한 아동미술실기지도" 도서출판세종 2003

8 "한국사군자그림에 나타난 조형심리고찰" 363-379, 2004

9 "한국미의 이해" 이화여대 출판부 2000

10 "한국미술의 자생성" 한길아트 1999

11 "추사와 그의 시대" 돌베개 2002

12 "전통미술의 소재와 상징" 교보문고 1995

13 "완당평전 1,2" 학고재 -1, 2002

14 "예술에 있어서 정신적인 것에 대하여" 열화당 1980

15 "여백의 사상" 금성출판사 1979

16 "선비의 벗 사군자" 보림 2005

17 "새로그린 매란국죽1" 학고재 2006

18 "사군자의 세계" 도서출판재원 2001

19 "사군자감상법" 대원사 2000

20 "미술치료개론" 동아문화사 2003

21 "미술이란 무엇인가" 일지사 1981

22 "미술의 이해" 숙명여자대학교출판부 1993

23 "미술매체와 조형심리" 2 (2): 96-115, 2006

24 "미술과 시지각" 홍성사 1983

25 "동양의 마음과그림" 새문사 1978

26 "造形の 基礎學び" 角川書店 1999

27 "美術と 人間" 1978

28 "美と 造形の 心理學" 北大路書房 2002

29 "構圖ESSENCE" 視覺DESIGN硏究所 2003

30 "寫意國畵四君子-蘭" 廣西美術出版社 2002

31 "古典で學び 水墨- 蘭" 二玄社 1997

32 "中國歷代梅蘭竹菊精品集" 山東美術出版社 天津人民美術出版社 1998