화육법(畵六法)에 기초한 전통미술 수업 사례- 전이모사, 기운생동, 골법용필을 중심으로 -

Abstract

East Asian painting traditionally emphasized a high degree of spirituality. This can be seen as a tradition shaped in the process, through the penning of countless works on theories of painting, of preventing the art from becoming merely technical. The six principles of traditional East Asian painting(huihua liufa)are a standard of painting criticism first presented by Xie He of the Southern Qi Dynasty(479-502AD) during the Southern and Northern Dynasties period. The greatest significance of the six principles lies in its firm establishment of the view that, in painting, spiritual resemblance (shensi) is more important than formal resemblance(xingsi). Research concerning the methodologies of classes on traditional art education hitherto has dealt mainly with expressions of shading(nongdan) such as the three-ink technique(sanmofa) and the spread-ink technique(famofa) as well as expressive techniques such as drawing lines and classes on ink and color painting. The classes conducted and examined in the present study sought to promote students’ understanding, expression, and appreciation of the six principles by leaving the expressive techniques free and open in conveying the spirituality commonly held by the six principles. As the first attempt in a new search for traditional art classes, classes were designed and conducted in terms only of “transmission by copying”(zhuanyi moxie), “spirit resonance, life movement”(qiyun shengdong), and “bone method in using the brush”(gufa yongbi). Through the process of conducting class with students and observing their activities, the present researcher was able to witness students naturally understand and learn concepts such as “spirit resonance, life movement” and “bone method,” which are somewhat abstract concepts and therefore can seem difficult, in the process of producing artworks. The significance of the present study lies in the fact that the six principles, which form the basis of traditional East Asian painting, do not only constitute theoretical classes but also are a part of the search for possibilities as classes on traditional art education through creative experience.