“골법용필(骨法用筆)”의 재인식

Abstract

When we use a concept in the traditional way, we may often misunderstand we realized more detailed contents than those we knew, because of the cultural background we have been living in. It is the ground that we believe we intuitively recognize the meaning of the concept, which have not become the lexicon of the language because we contextualized ourselves through temporal-spatial atmosphere the concept used. In the painting theory of the North-East Asia, 'QiYunShengDong(氣韻生動)' or 'GuFaYongBi(骨法用筆)' is such a case. Through Weijin(魏晉) Period, XieHe(謝赫), awakened formative practice of art, theorized guidelines of painting critic, The Six Criteria of Painting. Among them, 'QiYunShengDong(氣韻生動)' has been arguing on the issues of artistic effect in relatively frequent ways. Thus, on the one hand the meaning of 'QiYun(氣韻)' has been somehow debated in the public discourse, on the other hand that of 'GuFaYongBi(骨法用筆)', as a guideline for artistic practice, have been rarely argued. It is merely considered such an abstract idea as dynamics of brush stroke or structured composition. In this paper, I would like to survey how XieHe(謝赫)'s 'GuFaYongBi(骨法用筆)' interrelated with the other guidelines and how it, as a theory of art critic, set the criteria for artistic judgment. Ultimately, removing the rhetorics and the myths of them, I will try to trace them to its source and understand how to be worked as universal ideas of art critic.