朝鮮文人對‘心畵說’的接受和發展的研究

Abstract

This thesis aims at getting out of the restriction of the practical calligraphy criticism theory at the center of the brushwork and the writing rules. Discussing the important calligraphy theory— the “Painting Theory” in the perspective of the mind-philosophy. Especially not only does the “Painting Theory” has an essential influence on the appreciation and comment for the Chinese calligraphers’ works, but also affecting the Korean scholars. The thesis analyzes the development of this theory in the Korea and illustrates the Koreans who connect with the Painting Theory and the Neo-Confucianism in the period of the acceptance via exploring the acceptance of the Painting Theory for the Korean scholars, getting form into its unique calligraphy criticism and aesthetics. In the first instance, exploring on the origin of the “Painting Theory”. As what the scholars in the Western Han Dynasty Yang Xiong said “The books are similar to the paintings”, which becomes the beginning of the Painting Theory. Discovering it possesses the meaning of the writings, books, characters and six classics with the exegesis on the literal meaning in the “book”. The abundant meaning of the “book” provides the basis for the full development of the “Painting Theory”. The “Painting Theory” can be divided into 3 parts. One is the basic “Painting Theory”, second is “the theory of the righteous pen with the righteous mind”, third is “calligraphy-person resemblance”. The 3 parts consist of the “Painting Theory” system. Secondly, exploring the acceptance condition of the “Painting Theory” for the Korean scholars, which can be divided into 3 parts. One is the acceptance and application towards the Yang Xiong’s “Painting Theory”, second is the recognition and development towards the Liu Gongquan’s “the theory of the righteous pen with the righteous mind”, third is the positive acceptance for the Zhu xi’s “calligraphy-person resemblance”. By exploring, discovering that not only does the Korean scholars have a deep knowledge for the Painting Theory and the Chinese calligraphy, but also explaining the “Painting Theory” with the comprehensive explanation in the process of accepting the “Painting Theory” by the new perspectives and methods, and extremely develop the “Painting Theory” system. It can be discovered via this thesis that the diversity of the content that the “Painting Theory” itself includes determine the positive attitudes for the Korean scholars. Especially the feature of the mind-philosophy it possesses attaches importance to the Korean scholars. However, in the process of accepting the “Painting Theory”, comparing with the mind-philosophy, it forms the “Painting Theory” system which has the Korean scholars’ characteristic Neo-Confucianism with connecting with the “Painting Theory” and the Neo-Confucianism. The “Painting Theory” of the Neo-Confucianism has an essential influence on the calligraphy criticism for the Korean scholars, and directly affects the temporal form of the aesthetics and consciousness.