주체성의 실천으로서 중국문인화

Abstract

The literati painting is considered bi-mo(筆墨) as pictorial form in our times. but if we research the original mean, it was is made on the base of philosophical ontology. It is the aesthetics research how literati gets over the confrontational things in tense relation between mind and things. Mind as the subject of an act reacts on the outside things in two orientation. The one is 'a painting for me' that is not drawn passively in the relationship with, but in means practice. The other is 'a painting for others' that could not be embodied because of its idea trapped in a subject. Finally, the former is literati painting, the latter is a professional painting. After all, in the relation between a subject and an object, the literati painting is an active materialism of subjectiveness and professional painting for living at palace is passive subordination of a subject. ‘Yu yi yu wu(寓意於物)’ is the mode that the literati painting is related to the outside things. It has the form of things, but not trap in its form, and entrust literati mind. In this point, mind is not a fixed idea but the reaction of mind. It continually changes and develops outside. In pictorial methods, it is revealed through calligraphic line. Therefore, the change of brush and Chinese ink, that is bi-mo(筆墨), is the change and development of mind.