유(儒)·도(道) 사상을 통해 본 윤형근 회화 연구

Abstract

In Eastern philosophy and art, Eastern thought emphasizes the beauty of character and nature. The artist’s character is viewed as a fundamental element of art, while nature is depicted as a principle to be followed and emulated—the concepts frequently discussed in various contexts of this tradition. This study explores the paintings of Yun Hyong-keun(尹亨根, 1928-2007), a prominent modern and contemporary Korean artist, through the lens of the beauty of character and nature. Yun’s distinctive painting style involves layering a deep black pigment—created by blending blue, symbolizing the sky, and umber, symbolizing the earth—onto raw linen canvases. The natural hues, expressed on the rough texture of the canvas, reflect an artistic world that aspires to the “archetypal.” The artist emphasized the importance of character in art, explaining, “A work of art is a reflection and an expression of its creator.” His creative process and artworks resonate with a “humble world—nature.” This study interprets Yun’s philosophy and innovative methodology through Confucian and Taoist thinking frameworks. The concept of the beauty of Yun’s characters is explored through the notion of inner sincerity manifested in outer form(誠中形外) from The Great Learning(大學), and the idea of fulfillment as the essence of beauty(充實之謂美) from The Mencius. These principles highlight how Yun’s paintings embody a harmony between inner authenticity and external expression. Next, the Taoist foundation for the beauty of nature is examined through the concept of simplicity(樸) as described in Laozi and Zhuangzi. Taoist aesthetics, which emphasize an unrefined, essential state of being, align with Yun’s pursuit of archetypal forms in his artwork. Furthermore, the black ink tones(墨色) that Yun prominently employed can be understood as exemplifying the natural hues celebrated in the philosophies of Laozi and Zhuangzi. Yun’s minimalist and reductive approach to painting echoes Laozi’s idea of returning to the essential. This perspective allows a deeper understanding of Confucian and Taoist influences in Yun’s artwork and offers a new interpretative framework for analyzing his paintings.