하이데거의 회화론 - 반 고흐의 구두회화에 대한 분석을 중심으로

Abstract

This paper seeks to clarify Heidegger’s theory of painting based on his analysis of Van Gogh’s “Shoes of the Peasant”. In contrast to the traditional theory of painting, Heidegger claims that the essence of painting is found not in the concept of beauty but in the concept of truth. However, when Heidegger speaks of truth, he does not mean the traditional concept of truth in terms of “correspondence” with objects; rather he means the “uncealedness” of the function of equipment. The genuine function of equipment refers to the non－teleological possibility that is only discovered when the everydayness collapses. And according to Heidegger, we can encounter the collapse of everydayness in Van Gogh’s “Shoes of the Peasant”. In Van Gogh’s painting, in which the essence of shoes equipment is represented on the canvas by the ingenious creativity of an artist, one can indeed encounter the truth of equipment, i.e., non－teleological possibility in the uncanny world. However for Heidegger, the creative art work by an artist is not equated with the free－floating freedom belonged to the individual subject. The creativity of an artist fundamentally presupposes the spirit of people, and it is rooted in the inherited cultural tradition, which Heidegger calls “earth.” This creativity is ascertained in Van Gogh’s painting. In the analysis of the represented equipment shown in Van Gogh’s painting, Heidegger clearly indicates that the aesthetic freedom, namely, leeway, which is the condition of possibility for the existential concept of truth, is indeed thrown freedom in the world.