전통 의상론(意象論)과 영미 이미지즘의 생태 미학적 함의 비교 연구

Abstract

This paper is the result of a comparative study of the ecological and aesthetic implications of the traditional 'Yixiang theory' and the English-American imageist art philosophy. The traditional 'Yixiang theory' and the English-American imageist art philosophy have contradictory perspectives from the relationship between the universe and humans. Both theories are worth discussing as alternatives to overcome the problems caused by the strong anthropocentrism of modern Europe, but the perspective of the English-American imageist art philosophy is 'fundamental ecologicalism', which has limitations in discussing civic consciousness and the will to improve. For English-American imaging poets, the universe meant 'organic', that is, 'mechanical integration', and the whole and part of 'organic', a mechanical integration, could never be discussed on the same level. From the perspective of such 'fundamental ecologicalism', everything, including humans, was only one part of the whole. The 'organic' they discussed was a complete mechanical universe structured through the complex relationship of parts, in which humans were nothing special compared to other objects. Their thinking could be an alternative to 'anthropocentrism', but it was limited in exerting 'power' for the maturity of human culture. After the exchange with English-American imageist, Present 'Yixiang theory' has developed into a modern theory that is distinct from the traditional 'Yixiang theory' by adding a structural interpretation of poetry. Moreover, in ancient East-Asian poetry, there existed objects that have been continuously recited since ancient times, and they formed a structural system together with surrounding objects over time. As such, the structural system contained in the poem had already passed through countless poems over the millennium, so it had an independent life that was not bound by any particular poet or any particular era. In the Present 'Yixiang theory', these very objects were called 'Yixiang', and poetry creation was understood as a structural design. However, the response caused by these objects in ancient East Asia was discussed in terms of literary criticism called 'Xing'(興), and 'Yixiang'(意象) had its original meaning that was distinguished from it. English-American imagery poets attempted to 'Post'(脫) from the real world through the structural system of objects in poetry. They considered that the new sensitivity, rigorous and geometric art, and the tendency to abstraction to be distinct from the natural world that occurred in European society at the time were caused by being surrounded by mechanical elements due to the influx of oriental elements and industrialization. T.E.Hulme described Byzantine culture and Indian philosophy as oriental elements, and this paper focused on Indian philosophy. In T.E.Hulme's view, there was still a sense of separation from external nature in India, which is discussed as concepts such as reincarnation, karma, and liberation. 'Post'(脫) pursued by ancient East Asian writers never meant separation from nature, but a life that left the world and flowed as one with nature. In addition, the transcendence that ancient writers recited through poetry was aimed at 'Seclusion'(隱逸) and furthermore, 'Buoyant'(飄逸), and they discussed based on the 'Personality'(性品) who knows how to enjoy a truly free life boundary by achieving full harmony with the flow of Mother Nature. In East Asian society, poetry and art could not be discussed without discussing 'Personality'(性品), and since 'Personality'(性品) was necessarily based on the person's 'body', it was not possible to discuss the artistic level even with the 'Mind' separated from the material world. This thought turned out to be a climate that values 'Qixiang' (氣象) in literary art. Literary works described the highest boundary between poetry and art creation as 'Buoyant'(飄逸). 'Buoyant'(飄逸) refers to the state of 'joy' in which one can enjoy a complete harmony flowing with Universe. For this reason, while discussing the works created, he emphasized that poetry and art in ancient East Asia should be 'active material'(活物), and wanted to feel the lively 'rhythm'(韻律). This is contrary to the flat, geometric, and non-realistic sensitivity that English-American imagism poets discuss, and is an art made up of one's own vitality energy(血氣) in reality. In the traditional 'Yixiang theory', humans are microcosms that embrace Universe's reasoning. Humans are reborn as beings who respond to all things in the universe beyond humanity through their own 'body'. In this view of the universe, humans are the subject who participates in the constant creation and change of Universe and are ecological beings who realize their lives along with Universe. For this reason, it is worth referencing in the establishment of the modern theory of ecological aesthetics as an alternative to overcoming the limitations of anthropocentrism and non-human fundamental ecologicalism. In English-American imageism and Present Yixiang theory formed after modern times, 'abstract' is a theory that can help understand the human mind that is actually independent from the temperament of the 'body'. On the other hand, the traditional 'Yixiang theory' is a theory that can help provide the life of one's 'body', the character achieved through repetition of good actions, and the aesthetic experience as a subject of life realization with Universe. The fact that our Earth or space is beautiful, and that it has any value, is only possible after human perception. The value of beauty comes from within humans, not from the outside world. In this paper, I hope that this paper will contribute a little to promoting the ecological and aesthetic value contained in East Asian philosophy and traditional 'Yixiang theory.' and that various discourses reflecting on the sustainable future of humanity and human values will be further encouraged in the future.