일(逸)의 미학을 통한 장욱진 먹그림 연구

Abstract

Yi(逸) is regarded as the ultimate aim in East Asian aesthetics and has developed into an aesthetic theory, producing numerous derivative concepts. Yi has created various styles and artistic values in not only lifestyle but also in terms of philosophical and aesthetic aspects, and is an aesthetic category that emphasizes the creative and innovative state of art. Among the aesthetic characteristics of Yi, I believe that the unworldliness of spirit and simple formativeness are suitable concepts for understanding ink paintings of Chang Ucchin(1917-1990), a modern and contemporary Korean painter. In Chang Ucchin’s ink paintings, the magpie, child, the sun, mountain, tree, and pavilion that the artist has continuously chosen appear, and Taoist materials such as ascetic, landscape, and lie-down wandering(臥遊) as well as Buddhist materials such as Painting of the Eight Scenes, Finding out the cow, Buddha, and Dalma form the main themes. That is, unworldly thinking and life in harmony with nature appear in his paintings, where free strokes and concise expression stand out. The painter left the secular world and lived alone in seclusion in an atelier in the suburbs, where he immersed himself in his artistic work. Moreover, the expressive characteristics of ink painting are mainly composed of simple formativeness, Ganpil(簡筆), Galpil(渴筆), and Dammuk(淡墨). Both facts are compatible with the aesthetic characteristics of Yi, which is free from the secular and pursues a clumsy and profound artistic boundary. This paper examines how Chang Ucchin’s art world is related to Yi’s aesthetics by probing into the aesthetic meaning and expressive characteristics of Yi and analyzing how the concept of Yi is embodied in his ink paintings. This will provide an opportunity to re-recognize the philosophical and aesthetic characteristics of Yi and will be a work to prove the methodology that East Asian aesthetic concept can be understood in terms of artistic creation, appreciation, and criticism, transcending the generational gap, by tracing how it is applied and interpreted in modern and contemporary painting.