石濤=Shi-tao; 畵語錄=Paintings and Words; 一畫=one painting; 一心=one mind; the sect=禪宗; late Ming beginning Ch´ing=明末淸初; the nature of Buddha=佛性: 如來藏; Tathata=眞如; the Avatamska Sutra=華嚴經; the pictorial art=繪畵藝術
摘要
중국선의 본질은 마음에서 비롯하여 초조인 보리달마에서 육조혜능을 거쳐 당대 조사들에 이르기까지 그들은 선종의 종지를 ‘安心’, ‘無心’, ‘一心’, ‘一念’, ‘無念’, ‘如來藏’등 선사들은 각자 心에대한 표현방법들을 달리 나타내며 그 성격들을 보이고 있다. 선종의 이런 마음에 대한 부분들이 중국선의 쇠퇴기라 말할 수 있는 명말청초 시대에 태어난 석도에게까지 많은 영향을 미쳤음을 간과하지 않을 수 없다. 그가 남긴 일획이라는 본질적 바탕이 어떠한 선적 표현방법으로 전해지는지 규명해 보고자 한다. 석도의 회화관을 통해 그가 새로이 창조하고자 노력했던 부분이 과연 무엇을 표현하기 위함이었으며 궁극적 목표는 과연 무엇이었는지 살펴보고자한다. 석도는 一畫을 모든 존재의 근원이며 만물의 근본이 되는 것으로 말하며 “그림은 마음을 따르는 것이다”라고 표현함으로써 마음이 그림의 기본 원리임을 강조하고 있다. 이렇듯 불교에서 一心思想과 상당부분 밀접하며 가장 근원적인 접근법이라 본다. 따라서 중국선종 선사들을 통해 一心에 대한 전반적인 내용들을 파악하고 『畵語錄』에서 나타나는 一畫과 선종의 경전에서 나타나는 一心과의 상관관계를 보다 쉽게 검토하여 규명해 보고자 한다.
While the individual expression of painters in the artistic community of the late Ming Dynasty was comparatively lively, the theoretical background of this community does not depart very much from the ideas found in Qichang Dong's division of style into the Northern and Southern a religious polemic. The tendency of Qing Dynasty painters to consciously employ traditional artistic form also predominated. Opposing the totality of tradition and this mimetic school with its insistence on traditionalism, there were those who emphasized a definitive search for one's own painterly style, where an individual's real experience of freely expressing his own particular inner world leads him forward. It was through these individuals that Shi-tao was able to obtain a liberated ethos and philosophy of expression and manifest his creative character. The eighteen pages of Shi-tao's Record of Paintings and Words display a coherence of personal artistic style and philosophy. These in turn constitute a theoretical work which emerges from the background of the source of Chinese art's genius, the "philosophy of the three schools." The Record of Paintings and Words succinctly yet lucidly makes clear the fundamental problems of the "three schools" ideology and artistic theory, concrete and direct creative principles and methods of painting, and Shi-tao's personal cultivation on the basis of the principle of "one painting."While we can say that the essence of the Record of Paintings and Words is a decisive model for the synthesis of the philosophy of the Three Schools and art, we can also say that the metaphysics of the Three Schools was an abstract theory of immanence. The conceptual direction of Shi-tao's "one painting," however, is that the graphic arts' departure point and its beginning both lie in making possible the expression of the concrete phenomenal world. Foremost is that the "painting" (畫) of "one painting" does not mean a picture, but articulates the significance of a stroke, as in "to draw a line," which means the actual creation of a single line on a canvas by an artist. An even more basic form of the single stroke is not simply that a line is an element of creation but that based the traditional ideology of the Three Schools, a single line is also one part of the cosmological form. There is a need to examine this metaphysical viewpoint as well. Shi-tao's artistic philosophy, based on the principles of the Ch'an sect, held that if one, through spiritual cultivation and by means of the infinite universe's abstract beauty, could unify one's spirit with the universe's nature and awake to the truth, then naturally that artist would transcend mere draftsmanship and would have no need for formal learning. The artist would only give importance to accomplishing the merging of spirit and vitality and the awakening of his artistry. When we examine the transformation of Shi-tao from a Ch'an-monk to an artist-monk and the expression of Ch'an in his paintings, ultimately I must call him the beginning of Qing Dynasty individualism. The art and theory of the free spirit Shi-tao established was a huge influence not only on the "Eight Eccentrics of Yanzhaou" (揚州八怪) but also modern and contemporary artists. While walking the path of a Ch'an monk, Shi-tao created the Record of Paintings and Words, which was based on the doctrine of the unconditioned natu
