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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.12
- 수록면
- 101 - 130 (30page)
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Yun Tus? (1668-1715) is a scholar-amateur painter active during the late Chosen dynasty. There were new developments in the history of art during this time. In the area of calligraphy and painting, many literati emerged practicing in arts as a means to cultivate their mind, Yun Tus? was one of the most prominent among them,
The intellectual world of the late Chosen was complex. The literati were divided into different parties reflecting various doctrines of thoughts. artistic values, and styles. Yun Tus? as an heir of a famous family from the Namin 南人 party strove to transcend the petty struggles of the mundane world, and in his private realm he devoted himself to creative artistic activities,
He and his friends from the Namin party, who lived in the area of Hanyang formed the school of K?n‘gi Silhak 近畿實學派. The scholars' ideal in art began to be given its most systematic form by this time, Yun Tus? and his circle shared the same taste, ideals and aesthetic theories. The concepts guiding the scholars in their selection of literature, calligraphy, painting came from Confucian doctrines. In their artistic pursuit, the first requirement was moral character and literary values. They also had broad interests. not confined to Confucianism. In this context, Yun Tus? pursued the "antiquity" as a methodology to reform the realities to confront new conditions of society and international situation.
The emphasis on the antiquity was directly developed into the fervor of the ancient arts. They formed the specific pursuits in calligraphy and painting: calligraphic writings and rubbings the ancient, which are from pre-Chin and Han dynasties in China, new calligraphic style based on the master Wang Xizhi, and the gracious style of painting based on the ancient masters like Gu Kaizhi. Lu Tanwei. and Li Gonglin. Yun Tus? formulated new ways of using Chinese painting manuals and prints to create new painting styles. He was highly regarded in his own day and by the posterity including Kim Ch?nghi. the most influential critic in the 19th century.
In terms of the expectations made of the artist and with his actual practice of painting, Yun Tus? correlated meticulous brushwork and expressive ink tone to create literary style and to imply his fervor of the ancient mode. His art itself expresses his ideas of antiquity with a controlled spontaneity even though there were many traces of using painting manuals as main sources of imagination. He also strived to investigate the most ancient written texts, the earliest forms of the Chinese script, and the "seal script" style of calligraphy. The views of Yun Tus? and his circle and the artistic practice in which he manifested them. were very influential in all subsequent versions of the history of the Southern school as to be sustained by the scholar-amateurs and professional painters in the 19th century.
The intellectual world of the late Chosen was complex. The literati were divided into different parties reflecting various doctrines of thoughts. artistic values, and styles. Yun Tus? as an heir of a famous family from the Namin 南人 party strove to transcend the petty struggles of the mundane world, and in his private realm he devoted himself to creative artistic activities,
He and his friends from the Namin party, who lived in the area of Hanyang formed the school of K?n‘gi Silhak 近畿實學派. The scholars' ideal in art began to be given its most systematic form by this time, Yun Tus? and his circle shared the same taste, ideals and aesthetic theories. The concepts guiding the scholars in their selection of literature, calligraphy, painting came from Confucian doctrines. In their artistic pursuit, the first requirement was moral character and literary values. They also had broad interests. not confined to Confucianism. In this context, Yun Tus? pursued the "antiquity" as a methodology to reform the realities to confront new conditions of society and international situation.
The emphasis on the antiquity was directly developed into the fervor of the ancient arts. They formed the specific pursuits in calligraphy and painting: calligraphic writings and rubbings the ancient, which are from pre-Chin and Han dynasties in China, new calligraphic style based on the master Wang Xizhi, and the gracious style of painting based on the ancient masters like Gu Kaizhi. Lu Tanwei. and Li Gonglin. Yun Tus? formulated new ways of using Chinese painting manuals and prints to create new painting styles. He was highly regarded in his own day and by the posterity including Kim Ch?nghi. the most influential critic in the 19th century.
In terms of the expectations made of the artist and with his actual practice of painting, Yun Tus? correlated meticulous brushwork and expressive ink tone to create literary style and to imply his fervor of the ancient mode. His art itself expresses his ideas of antiquity with a controlled spontaneity even though there were many traces of using painting manuals as main sources of imagination. He also strived to investigate the most ancient written texts, the earliest forms of the Chinese script, and the "seal script" style of calligraphy. The views of Yun Tus? and his circle and the artistic practice in which he manifested them. were very influential in all subsequent versions of the history of the Southern school as to be sustained by the scholar-amateurs and professional painters in the 19th century.
목차
Ⅰ. 머리말
Ⅱ. 尹斗緖 예술의 근원: 古學ㆍ博學ㆍ實學
Ⅲ. 윤두서의 古學과 古法
Ⅳ. 尹斗緖와 眞景山水畵
Ⅴ. 맺음말
[ABSTRACT]
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UCI(KEPA) : I410-ECN-0101-2009-609-016481496