초록

Perfecting of Sa-Ui (寫意, ‘expression of ideals’) is one of the highly pursued artistic achievements in East Asian painting tradition. At the core of those ideals expressed lies the concept of Do (道, ‘the Truth’). As a way of effectively portraying and conveying the ideals of Do, the application of Yeo-Baek (餘白, ‘void space’) is regarded important. This article intends to examine some key issues in understanding the aesthetics of Yeo-Baek. In-depth understanding of Yeo-Baek style makes up a crucial part of the fine art of Dok-Hwa (讀畵, ‘reading a painting’). According to Eastern philosophy, the Truth, or Do, cannot be represented in any language or symbol. This notion is well summarized as ‘the ineffability of Do (道可道非常道)’ in Tao Te Ching (道德經) by Lao Tzu (老子, early 5th century BCE), a leading Chinese thinker. Once you depict something, the depicted image is no longer of the object. In that sense, Yeo-Baek or the void is something ‘depicted without the act of depicting.’ Yeo-Baek is never a fixed, stationary space, but one ‘of dynamic, ever-changing nature, filled with energy’ (氣韻生動). A specific method to present this characteristic of Yeo-Baek is the technique of Hong-Woon-Tak-Wol(烘雲托月), in which, in order to reveal the moon, an artist paints only the surrounding space of the moon, leaving the moon itself untouched. The purpose of such rendering is to achieve ‘the ultimate clear, lucid, and tranquil state’ (空靈). In the East Asian concept of ‘reading a painting’ (讀畵), looking at the painter's brushwork (筆墨) is virtually the same as looking at the empty space or Yeo-Baek of the composition. The brushwork and the empty space are not two separate matters. They are closely interconnected with each other, both philosophically as well as aesthetically. Although often underestimated as mere ‘background’, Yeo-Baek or the void space, which in many cases takes up a large part of the pictorial space, plays a role as significant as that of the brushwork. Thus, the visually empty space in aesthetic sense becomes no longer ‘empty.’The Korean painting tradition has not only exemplified the features of Yeo-Baek, an aesthetic ideal shared in the whole East Asian art tradition, but even went further to intensify and innovate it. In Korean paintings, the effect of Yeo-Baek was made prominent by maximizing the effect of harmonization of a larger space (e.g. one as a main background) and smaller spaces (e.g. ones within objects such as mountains, rocks, tree trunks, and so on). Using a mixture of larger and smaller spaces in a painting composition not only creates the aesthetic effect of providing breezy, fluid, and open feelings to the painting, but also expresses the philosophical notion that each object is not separate from the space or other objects, and that everything, including the space, is all interconnected. It is crucial to note that the Korean painting tradition not merely shares ideals common among the East Asia cultures, such as Sa-Ui and Yeo-Baek, but at the same time, also demonstrates a good number of unique quality and characteristics entirely of its own.

키워드

여백(餘白), 사의(寫意), 공영(空靈), 홍운탁월(烘雲托月), 도가도비상도(道可道非常道)

참고문헌(24)open

  1. [단행본] 변영섭 / 2008 / 문인화 읽기[讀書]와 사의성[寫意性]이해, In 미술사.자료와 해석(秦弘燮先生賀壽論文集) / 일지사 : 5 ~ 54

  2. [단행본] 변영섭 / 2010 / 문예의 이상(理想)을 향하여-[표암유고]의 미술사적 의의, In 표암유고 / 지식산업사 : 733 ~ 734

  3. [단행본] 월간미술 / 1989 / 세계미술용어사전 / 중앙일보사 : 283

  4. [단행본] 한글학회 / 1992 / 우리말 큰사전 2 / 어문각

  5. [단행본] 국립국어연구원 / 1999 / 표준국어대사전 상 / 두산동아

  6. [단행본] 김상환 / 2002 / 상징, In 우리말철학사전 2 / 지식산업사 : 71 ~ 75

  7. [단행본] 諸橋轍次 / 2001 / 大漢和辭典 12 / 大修錧書店

  8. [단행본] 中文大辭典編纂委員會 / 1973 / 中文大辭典 6 / 中華學術院, 中國文化硏穷所 : 10577

  9. [단행본] / 브리태니커 세계대백과사전 : 60 ~ 62

  10. [단행본] 陳鼓應 / 1997 / 老莊新論 / 소나무 : 21 ~ 330

  11. [단행본] 老子 / 1995 / 도덕경 제1장 / 현암사 : 19

  12. [단행본] 漢語大詞典編纂處 / 1991 / 漢語大詞典 7 / 漢語大詞出版社 : 58

  13. [기타] 이준 / 2007 / 한국미술.보이지 않는 공간에 대한 탐색, 한국미술-여백의 발견 / 삼성미술관 : 8

  14. [학술지] 조송식 / 1993 / 북송 사대부의 의식세계와 출사관 및 그 예술 / 美學 18 : 1 ~ 25

  15. [학위논문] 조송식 / 1998 / ‘와유(臥遊)’사상의 형성과 그 예술적 실현 : 육조시대에서 북송시대에 이르기까지의 예술론을 중심으로

  16. [단행본] 高裕燮 / 1963 / 조선미술과 불교, In 韓國美術史皮美學論攷 / 通文館 : 51

  17. [단행본] 李澤厚 / 1990 / 유와 도의 상호보충, In 華夏美學 / 동문선 : 111 ~ 170

  18. [단행본] 변영섭 / 한국문인화의 보편성 이해(1), In 미술사의 정립과 확산 (항산안휘준교수 정년퇴임기념논문집 : 588 ~ 590

  19. [학술지] 변영섭 / 1997 / 화론의 초기 양상과 한국성 / 민족문화연구 30 : 206 ~ 214

  20. [단행본] 이기상 / 생명. 그 의미의 갈래와 얼개, In 우리말 철학사전 2 / 지식산업사 : 131 ~ 132

  21. [단행본] 李學逵 / 2002 / 童子鄭寧園山水圖序, 洛下生集, 册十六, In 韓國文集叢刊 290집 / 민족문화추진회 : 509

  22. [단행본] 諸橋轍攻 / 1968 / 大漢和辭典 5 / 大修錧書店 : 5661

  23. [단행본] 邊英燮 / 1988 / (豹菴) 姜世晃繪畵硏究 / 一志社 : 133

  24. [단행본] 吳世昌 / 1998 / 국역 근역서화징, In 별책 영인본 / 시공사 : 186