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초록· 키워드
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Ha, In-doo (1930-1989), also known as Chunghwa, is one of the leading Korean abstract painters whose art can be characterized by a coherent inquiry into the subject matter of religious themes through his works. Not only he lived his daily life as a religious person but he also projected his religious views into his artistic endeavors. The distinctiveness of his abstract religious art was achieved as the result of his persistent efforts to give form to the entities symbolic of the ideas of different religions such as Cheondoism, Buddhism, and Christianity. Throughout his life, Ha was jostled by the oscillation between despair and hope amidst dramatic events, and this forced him to become keenly aware of the presence of human limitations. The inner anxiety caused by this realization in his mind compelled him to ask himself such questions as follows: Who am I?; Why are people born, suffer and die? And it was through religions that he sought to discover the answer to these questions―that is, his ‘real self.’ For Ha, artistic activities were tantamount to the religious practices through which he could attain ‘selfawakening.’ It is at this very point that one is allowed to define his works as ‘religious.’
The religiosity embodied in the paintings of Ha is of ‘the religious’ as the common faith of mankind rather than of specific “religions” as systems of belief in a god or gods. A religion is subject to the attribute of the obedience to or worship of a being or beings whose power is higher than that of man. On the contrary, the notion of “the religious” encompasses all human activities to delve into the question of eternal life through the organic experience of the everyday life. Furthermore, an experience of this “the religious” is directly linked to the fundamental principles underlying ecosystems where man and nature constitute a whole. A certain similarity is, therefore, found between one’s experience of this kind and his or her expression of his or her awe to nature. Then, it can be safely said that the process through which the self of the artist dispelled his anxieties and sufferings and fed and expanded his life by becoming one with cosmic nature is, too, one example of “artistic experiences as the religious.” His real self given birth to by this experience and the paintings as its symbolic embodiments are indeed what substantiates the truth of the religious art of Ha In-doo.
The religiosity embodied in the paintings of Ha is of ‘the religious’ as the common faith of mankind rather than of specific “religions” as systems of belief in a god or gods. A religion is subject to the attribute of the obedience to or worship of a being or beings whose power is higher than that of man. On the contrary, the notion of “the religious” encompasses all human activities to delve into the question of eternal life through the organic experience of the everyday life. Furthermore, an experience of this “the religious” is directly linked to the fundamental principles underlying ecosystems where man and nature constitute a whole. A certain similarity is, therefore, found between one’s experience of this kind and his or her expression of his or her awe to nature. Then, it can be safely said that the process through which the self of the artist dispelled his anxieties and sufferings and fed and expanded his life by becoming one with cosmic nature is, too, one example of “artistic experiences as the religious.” His real self given birth to by this experience and the paintings as its symbolic embodiments are indeed what substantiates the truth of the religious art of Ha In-doo.
목차
Ⅰ. 여는 글
Ⅱ. 천도교 시대 - 진아(眞我) 탐구의 시작
Ⅲ. 불교 시대 - 연화장(蓮華藏) 세계의 구현
Ⅳ. 기독교 시대 - 절대자 생명과의 합일
Ⅴ. 닫는 글
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-600-001300300