김환기 회화에 나타난 도가(道家)의 자연성 연구

Abstract

Nature is the most important reason for Taoist, and in Taoist aesthetics, art aims to learn the harmony and principles of nature and express its essential image as a state beyond the shape of the object. What must be preceded to reach this level is to recognize and acquire nature. Recognizing nature is not just looking at nature, but understanding the nature of the object and internalizing it as is. Based on this understanding, this paper attempts to examine Taoist naturalness in Kim Whanki’s paintings. Nature is the consistent basis of Kim Whanki’s paintings, where natural landscapes such as mountains, rivers, clouds, moons, birds, and trees repeatedly appear. His paintings not only take nature as a starting point in terms of material, but also approaches it from the perspective of uniting the subject (nature) and not separating its subjective interpretation in terms of expression. Thus, Kim Whanki’s later paintings reveal naturalness in the all-over dot painting method. Kim Whanki’s paintings have a correlation with the Taoist nature in that it starts from nature, contains nature, internalizes its essence, and expresses it on an abstract screen. This paper revealed the Taoist nature and how the concept of nature is demonstrated in Kim Whanki’s paintings. The process of analyzing paintings through philosophical concepts can help lead to a wide range of aesthetic studies by integrating philosophy and art. At the same time, this will secure an in-depth perspective on Kim Whanki’s view of the art world.