문인과 문인화의 이해

Abstract

As we cannot figure out contemporary arts from the perspectives of pre-modern arts, so strange and heterogeneous are pre-contemporary modes of arts seen from those of contemporary arts vice versa. It is quite easy to be deluded into us a priori understanding those familiar images in spatio-temporal continuum in history. Or else they are erroneously comprehended in the same horizon of the present. Literary Man’s Ink Painting is representative of such wrong-angled focuses. Nowadays Literary Man’s Ink paintings are mostly termed as stylized artistic flow where ink strokes are main tools of exhibit. Thus we do still have groups of artists active in the title of Literary Ink painter. Only from the standpoints of stylized artistic flow, ink painting with their consistent styles seems to maintain its historically rich tradition in synchronic art form. However from those of its changes of subjectivity and directions of works in its contemporary development process, it can be evaluated as a fossilized mode with gaps apparent in the process between intentions of style inventions and its realized forms. This paper will present a framework to make a deep-in-root understanding of the fundamental artistic spirit through new comprehension tool “Brush techniques to overcome left-over time” on the basis of ‘Yuqi’ (餘技, literally means left-over time spending technique) instead of widely accepted handicrafts from laziness.