일본차 표상과 ‘주체적 상상력’ －『남방록』, 『차의 책』, 『차와 미』를 중심으로－

Abstract

The purpose of this paper is to discuss the theoretical grounds of subjective imagination that embodies the root and trunk of esthetics of tea by reserching the books which discuss Japanese tea since the Edo era. The writer aims to clarify the theories of Japanese tea by researching the next books: Nanboroku around 1690, Tenshin(1863~1913)’s The Book of Tea 1906, and Yanagi Muneyoshi(1889~1961)’s Tea and Beauty 1955. Nanboroku is the classical literature which cannot be excepted for in representing Sen no Rikyu’s spirit of ‘Wabicha’. Both The Book of Tea and Tea and Beauty are the books of Japanese Tea which informs them that esthetics of the common tea ceremony, i.e. subjective imagination, implies how to expand and develop as spiritual culture of Japan during tea-meeting others since the modern era. Rikyu’s spirit of ‘Wabicha’, represented by Nanboroku, maximizes the potential beauty of an incomplete object while simultaneously connotes a radical aspect that does not mind intentional damage or transformation of a complete object. Such a two-way subjective imagination is the aesthetics of tea ceremony completed by the base of the equivalent exchange between the host and the guestTenshin not only completes upgrading these aesthetics of the tea ceremony in The Book of Tea but also expands to the the root and trunk of Japanese culture. That is, the subjective magination of the tea ceremony, which the host(creator) and the host(appreciator) share, is the ‘Art of Life’ with which the East and the West can overcome the phenomenal reality of each other. Henceforth, The Book of Tea is a kind of eloquence through which Tenshin persuades the West to understand such an ‘Art of Life’ of Japan. On the other hand, in Yanagi Muneyoshi’s Tea and Beauty, the maker (Korean potters) is separated from the creator(tea-makers of Japan). Such separation relies on the reason of keeping the natural beauty of tea bowls created by the maker from inconvenience of consciousness, it also confirms the fact that Yanagi Muneyoshi does not admit creativity of Korean potters he himself appraised as ideal makers. while simultaneously expands to highlight nationalistic aesthetic sense of beauty.