조선조 심학미학의 전래와 18~19세기 회화의 심학적 미의식 고찰

Abstract

After Yangming Study was introduced to Joseon, scholars of the Yangming Study expressed the essence of nature while holding the true academic attitude. In the literary field, it has led to various artistic orientations based on ‘practical mind’ and ‘practical interests’ that penetrate their studies. In addition, the transition of the aesthetic consciousness led to the creation of an art theory with the individual self as the core, and such a change is also in line with the Yangming pratical ethics that aims for a unique world according to the genuine of the individual’s subjective feelings. In response to this practical ethics process and the artistic orientation, unique and subjective activities were also carried out for the painting in the late Joseon Dynasty unlike in previous times. If we could describe the achievements of the painting in the late Joseon Dynasty in one word, it could be said to be Joseon style and uniqueness. Such a status was due to various factors of change as the late Joseon Dynasty was a period of ideological and social change, but it can be said that as a result of the aesthetic operation of Yangming practical ethics, its scope was expanded according to changes in consciousness of reality and the view of art. In particular, it can be said that it is one of the big characteristics that the change in status of the painters and the will to art showed the resistance to society and were toward the modern times as a whole. A representative painter who expressed the will to create in order to overcome social constraints at that time was Choi Buk, and there were also traces in which Cho Young-seok, Shim Sa-jeong, etc. tried to confirm their social statuses. It was an opportunity to renew the status in that they recognized reality and presented a new direction with an intuitive and unconventional creative attitude, thereby fully demonstrating their creative capabilities and providing a motive for a modern-oriented aesthetic consciousness.