『도화견문지』에 나타난 유심(游心)의 기운생지론 연구

Abstract

This paper is to examine the theory of 'Qiyun-Shengzhi' in Tuhuajianwenzhi by Guo ruo-xu in the North Song Dynasty focusing on Shengzhi (innate knowledge) and You-xin (enjoying mind). In the Chinese painting history, from the late Tang to the Five Dynasties and the North Song Dynasty, the big transition appeared. Besides the figure paintings, the landscape and flower bird paintings appeared, and especially literati paintings appeared. Guo ruo-xu theoretically founded the superiority of literati paintings over the professional paintings through the theory of Qiyun-Shengzhi. The concept of Qiyun-Shengzhi meant the "spirit consonance necessarily involves an innate knowledge". He conjoined the concept of the Qiyun-Shengdong by Xiehe and the concept of Shengzhi in the Analects and Golden Mean. He divided the contemporary painters of the North Song Dynasty into four main subject groups; he separately discussed an emperor, thirteen nobles and scholar-officials and two recluses. They pursued the enjoying paintings for themselves, and they painted for their own pleasure. Spirit consonance as a kind of innate talent reflected a man's personality and social condition. The aesthetic thought of these literary persons based on the Confucian ideas that 'the relying on the perfect virture and free enjoying in the arts' in the Analects. Exploring the abstruse and plumbing the depths in Iching, their lofty and refined emotions were all lodged in painting. He insisted that “Spirit consonance originated from the enjoying mind (you-xin).” And he applied spirit consonance to the personality and the you-xin of the painter. You-xin meant the enjoying mind that was free from restraint. It originated from the source of the mind, finally the spirit of the painter united the spirit of the object. Generally the fundamental idea on art in Guo ruo-xu was founded on Confucianism. And within the idea on paint creation, he included the thought of Zhuanzi and borrowed the concept of Zen.