 |
|
| 禪宗의 出現과 文人의 審美意識=Appearance of Seon-Buddhism And Litterateur's esthetic sense | ||
| 作者 | 金大烈 (著)=Kim, Dae-yeoul (au.) |
|---|---|
| 出處題名 | 한국불교학=韓國佛教學 |
| 卷期 | v.33 n.0 |
| 出版日期 | 2003.02 |
| 頁次 | 353 - 381 |
| 出版者 | 한국불교학회 |
| 出版者網址 | http://ikabs.org/ |
| 出版地 | Korea [韓國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 韓文=Korean |
| 附註項 | 저자정보: 동국대 미술학과 교수 |
| 摘要 | The esthetic fondness of Chinese art shows considerable differences at a certain point in the middle of Tang period when the idea of Zen-Buddhism came out. After Chinese literati accepted this new idea positively, Zen-Buddhism had generally effected on the history of Chinese ideology. Going through the Time of Five Dynasties, it attained the zenith in Song Dynasty. Literati painting which was arisen at that time became the Orthodoxy in Chinese painting art with settling literati painting theory. It was reasonable that literati painting had been influenced by Zen-Buddhism under the circumstances that they had prospered together. Zen-Buddhism, regarding mankind on a level with Buddha, never drew mankind into supernatural and surreal condition and provided equal chance of self-transcend to everyone. As a result, the Gentry became satisfied with the real life and accomodated themselves to Mother Nature without worldly desires. Besides understanding objects was formed by sudden enlightenment and self-explanation was perceived intuitively. They tried to put tranquil meditation and speculation into daily life and the esthetical emotions were presented in the form of poems and paintings. From their work of unity of poem, painting and Zen idea, the brand new painting art of ｢Literati Painting｣. By degrees, Chinese art and literature strongly tended to attach importance of the intrinsic principle rather than outstanding expressions. Because what they pursued was mental serenity and pure and unsophisticated life style, the artistic aim was also a representation of the beauty of restful nature as it was by being united toMother Nature. This is what「Literati Painting」exactly is. Its expression takes only essential factor and eliminates unnecessary parts. Moreover the picture is not just an imitation of nature but exists of itself. In a way, a new ‘nature’ is born at the point of the painter's devotion. Established figure painting and flower-and-birds painting put importance on detailed stroke and color, but this method was not suitable for the Gentry to represent their artistic flavor and impression. As occasion demanded, the distinctive quality of india ink was discovered. According to this aspect, it is certain that the idea of Zen-Buddhism affected on formation and improvement of literati paintings. The Gentry who adopted the Zen-Buddhist way of thinking tried to express the new view through poems and paintings, which was gained by grasping all depending on inner experience and intuition from deep thought and meditation without general logic. The result was Chinese painting art containing more ideas. And the part of using india ink became important so that representation of nature was freed from fine touch. |
| 目次 | Ⅰ. 緖論 1 Ⅱ. 禪法의 수용과 전개 2 Ⅲ. 禪의 本質 3 Ⅳ. 禪宗과 美․藝術 7 1. 宗敎와 藝術 7 2. 깨달음의 美 8 Ⅴ. 士大夫의 審美 11 Ⅵ. 結論 14 |
| ISSN | 12250945 (P) |
| 點閱次數 | 61 |
| 建檔日期 | 2021.12.20 |
| 更新日期 | 2021.12.20 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
