지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Several literary anthologies containing writings by Jo Huiryong (1789-1866), invaluable for understanding his views on painting and art, have survived to today. His views on painting were heavily influenced by medieval values. However, Jo Huiryong’s legacy has been long overshadowed by that of Kim Jeonghui and he was regarded as an epigone of Kim. In response, a number of researches were conducted to shed new light on Jo Huiryong as a master painter in his own right and to discover modernity in the works of Jo Huiryong whose career unfolded amid the various and changing currents of the 19th century. As a result of this, Jo Huiryong was often misunderstood as a painter with a modern sense of self-awareness and artistic view.
Jo Huiryong’s views on painting were formed against the backdrop of such currents of thought as ‘dongdojuui (東道主義)’ and ‘sauijeok jeonsinnon (寫意的傳神論)’, emphasizing the spiritual essence of a painting subject rather than visual resemblance to the subject, which gained popularity during his time, and was ideologically embedded in the Philosophy of Lao Tzu and Zhuangzi, Confucian values and the Buddhism. Following the concept that the act of painting is similar to the creation of universe, he recognized himself as a ‘co-creater (共創者)’ participating in the creative process.
He believed that ‘one’s own methods (我法)’ can be attained through emptiness and calmness of mind (虛靜, Xu-jing ), and consideration of the nature by oneself (獨運). In trying to capture his inner creativity, Jo Huiryong sought a tendency of ‘domal (塗抹)’ and ‘nanmal (亂抹)’ which can be translated as “spontaneity” that is consistent with his belief in the intimate correspondence between the hand and the mind. His paintings also show a tendency toward the so-called ‘toedangbangpil (頹唐放筆).’ All of these tendencies were driven toward breaking away from the rule of painting (逸格, unconventionality), eliminating contrivedness and artificiality, in favor of paintings created almost purely out of spontaneous brushstrokes, while the mind of the artist is free of any particular intention or preconceived ideas. Jo Huiryong also held the view that a painting should capture the essence of a subject, rather than representing it mimetically. His ultimate goal was to reveal the power of harmony and vitality inherent in the nature.
This paper casts new light on Jo Huiryong’s artistic temperament and credo and reinterprets his paintings based on views on painting and art that were contemporary to his lifetime. Through this effort, the author was able to gain intimate and more holistic insights into Jo Huiryong as an artist.
Jo Huiryong’s views on painting were formed against the backdrop of such currents of thought as ‘dongdojuui (東道主義)’ and ‘sauijeok jeonsinnon (寫意的傳神論)’, emphasizing the spiritual essence of a painting subject rather than visual resemblance to the subject, which gained popularity during his time, and was ideologically embedded in the Philosophy of Lao Tzu and Zhuangzi, Confucian values and the Buddhism. Following the concept that the act of painting is similar to the creation of universe, he recognized himself as a ‘co-creater (共創者)’ participating in the creative process.
He believed that ‘one’s own methods (我法)’ can be attained through emptiness and calmness of mind (虛靜, Xu-jing ), and consideration of the nature by oneself (獨運). In trying to capture his inner creativity, Jo Huiryong sought a tendency of ‘domal (塗抹)’ and ‘nanmal (亂抹)’ which can be translated as “spontaneity” that is consistent with his belief in the intimate correspondence between the hand and the mind. His paintings also show a tendency toward the so-called ‘toedangbangpil (頹唐放筆).’ All of these tendencies were driven toward breaking away from the rule of painting (逸格, unconventionality), eliminating contrivedness and artificiality, in favor of paintings created almost purely out of spontaneous brushstrokes, while the mind of the artist is free of any particular intention or preconceived ideas. Jo Huiryong also held the view that a painting should capture the essence of a subject, rather than representing it mimetically. His ultimate goal was to reveal the power of harmony and vitality inherent in the nature.
This paper casts new light on Jo Huiryong’s artistic temperament and credo and reinterprets his paintings based on views on painting and art that were contemporary to his lifetime. Through this effort, the author was able to gain intimate and more holistic insights into Jo Huiryong as an artist.
목차
Ⅰ. 머리말
Ⅱ. 조희룡의 회화 창작관의 연원과 성격
Ⅲ. 虛靜과 獨運의 창작태도
Ⅳ. 塗抹·亂抹과 頹唐放筆의 逸格的 성향
Ⅴ. 맺음말
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ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2014-650-000449428