중국 산수화에서 意境의 의미 (An artistic concept of‘Idea and Boundary(意境)’in Chinese landscape painting)

서지정보

· 발행기관 : 동서미술문화학회
· 수록지 정보 : 동서미술문화학회 미술문화연구 / 1권 / 1호 / 239 ~ 266페이지
· 저자명 : 이광수

초록

동양 미학에서는 ‘意’를 가장 이상적인 심미주체로 여기고 있으며, 意에 대한 사유는 ‘寫意性’이라는 동양특유의 회화 양식을 창출해내었다. 사의성은 意에 대한 이상적 성향을 표출하는 것을 목표로 하며, 이에 대한 미학적 접근을 위해 ‘의경’의 개념이 대두되게 되었다. 가령 ‘사의적’이라는 의미가 예술의 경향을 포함하고 있다고 본다면, 사의는 ‘의경에 의한 형식미의 완성’이라고 그 성격을 규정할 수도 있을 것이다. 그래서 意에 대한 철학적 혹은 미학적 접근 방법으로 ‘의경’을 주목하게 되었고, 의경은 사의의 내용을 더욱 풍부하게 해줄 것이라고 판단된다





意에 관한 철학적 사유는 위진남북조(魏晉南北朝) 시기에 현학(玄學)을 기반으로 이미 싹트기 시작하였는데, 이시기에 산수화가 태동하였다. 그 대표적인 작가로 종병(宗炳, 375-443)과 왕미(王微, 415-443)가 있는데, 그들의 산수화론 속에서 의경에 관한 개념을 추론할 수 있다. 당시에는 ‘意境’이란 용어를 직접 사용하지는 않았지만, 도(道), 형신(形神) 등의 개념 속에서 이미 의경적 요소가 나타나 있다고 보인다. 따라서 의경미학은 산수화의 시작과 더불어 태동되기 시작하여, 당(唐)에 와서 왕창령(王昌齡, 698-약757), 中唐 때의 시승인 교연(皎然), 유유석(劉禹錫, 772-842), 사공도(司空圖, 837-908)등에 의해서 그 개념이 완성되고, 송대(宋代)에 와서는 문인의 심미적 특성과 선종(禪)宗의 유입으로 더욱 발전하게 되었다.

영어초록

In the artistic expression of China, The ‘idea and boundary (意境)’ can be translated as the state of perfection in an anesthetic consciousness or in the area of esthetic sense. It can also be defined as the combination of the artist’s ‘subjective emotion (主觀)’ and the ‘objective shape of an object (客觀物象)’. Thus, art pieces are the media for the artists to express their frame of minds by incorporating their principles or anesthetic consciousness and their experience in daily lives into their works.
In here, the ‘idea (意)’ means the artist’s (藝術家) subjective anesthetic consciousness expressed through the image of works. It can also be said that it consorts with the concept of ‘emotion (情)’. The subjectivity of an artist means the emotions established by the artist in relation to the beauty. During the process of artistic creation, the concept of ‘emotion (情)’ also can be explained as the final work recreated by the artistic cogitation and the subjective assesment made by the creator, which are incorporated into his contemplation on the object.
The ‘boundary (境)’ indicates the scenery of the season which is described and embodied within the artist’s anesthetic consciousness. In the artistic expression, the ‘boundary (境)’ means that the artists approach the true nature of the objects both through the observation and experience. It is not a simple description of the object, but rather it is the creation of subjective ‘will and taste (意趣)’ towards the object of anesthetic appreciation achieved by more intrinsic approaches.
The ‘boundary (境)’ also includes the meaning of ‘image (象)’ and indicates the ‘objective shape of an object (客觀物象) or the ‘shape or form (形象)’. The issue of the ‘subjectivity (主)’ and the ‘objectivity (客)’ can be generalized by the issues of the ‘emotion (情)’ and the ‘scenery (景)’, and we can say that the unity of the ‘emotion (情)’ and the ‘scenery (景)’ shows the state of the ‘oneness of the subjectivity and the objectivity (主客合一)’.
The theory of anesthetics on the ‘idea and boundary (意境)’ has a long history which traces back to the Wei Jin Nan Bei Chao (魏晉南北朝) period. The ‘landscaping paintings (山水畵)’ was also originated during this period. In other words, it can be said that the anesthetics of ‘idea and boundary (意境)’ started to be systemized as the beginning of the landscaping paintings and such influence is still prevalent until today. Traditionally, the paintings and drawings of Asia do not emphasize the direct reproduction of the object. The expression based on the artist’s subjective anesthetic perspectives, instead of direct reproductions, can provide modern paintings and drawings with many philosophical foundations.

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