東洋畵의 線 - 그 성질과 경향성

Abstract

There are two directions of progress in phase of Oriental painting. One is the inner direction to make it intuit suggestively for expressing essentials or idea by lines, the other is to expand to the outer one to be direction of marginal space to mean infinite comprehension, that is, which makes viewer infer and imagine. While Western painting is completed when painting have ended, painting intention in Oriental painting has progressed with breadth and width after ending to paint(畵盡意在). Therefore, while Western painting is closed space, Oriental painting goes on expanding in the outside of painting as open space since Han Dynasty. In the basis of Oriental painting there are many kinds of dots and lines by which are characterized. As Buddhism had taken in China, Buddhism scriptures had begun to translate in Chinese and as the result calligraphy to write Buddhist scriptures or Confucianism scriptures by brush had begun on development in Six Dynasties. As in Tang Dynasty poems and literature developed, skill calligraphy could make painting express depth of mental area and sensitive area in meanings, forms, and techniques. In Oriental Painting drawing shape and Painting itself have progressed in inclination for it's bone-method line(骨法 線). Completion in Oriental Painting is someday to be completed in it's inclination. In Six Dynasties there was already one stroke writing to complete with a single stroke, and it seems to be what the brush is used in the same way in both calligraphy and painting created one stroke painting by scholars, the nobility, monks. Chang Yen-Yϋan says the possible reason of one stroke writing and one stroke painting is that 'to keep whole(in his mind) before (he used) his brush, so that when the painting was all finished the conception was (embodied) in it' and 'the brush is used in the same way in both calligraphy and painting'. Therefore, this attaching importance to intention formed make the line of Oriental painting develop characteristics of direction, evanescent appearance, thickness, speed, and weight, and painters make expression of intention which there is not in West deal well with weight of brush. One stroke painting of Lu T'an-wei(陸探微) which Chang Yen-Yϋan says"Lu T'an-wei started one stroke painting as well,(in which the stroke)continued uninterruptedly"showed the summit of both Western and Eastern. I think, Chang's criticism has taken a standpoint which one stroke writing of Chang Chih(張芝) has rather form of characters drawn than power for each stroke to send energe in various direction, that is, which a stroke of the brush is a essential nature in a painting. Therefore, margin which there is not expression, has been attached importance to meaning full of overtones. Also what Hsieh Ho placed Lu T'an-wei' first among first class, five men and winned high praise of 'He fathomed the principles(of Nature) and exhausted the nature(of man). The matter is beyond the power of speech to describe. He embraced what went before him, and gave birth to what succeeded him: and from ancient times up until now he stands alone(窮理盡性. 事絶言象. 包前孕後. 古今獨立)'. Because Chinese painting began dots and lines from formal resemblance and aimed at Spirit Resonance, though there are two styles of painting, the free(that with just one or two strokes, the image is already reflected) and the detailed, the appraisal is the free. But we must not forget what there is the detailed in the basis of painting. Lines in the free, as two-sided coin, make a large portion of background blank space. That is, they do not set limits to earmark. This means infinite comprehension or infinite significance, so to speak, painting has infinite width. In this sense marginal in the Oriental painting is not nothingness and rather takes on positiveness. In side of expression marginal may make incompletion complete as it take direction to expand the weakness. That is, this is 'doing nothing and doing' and has something in common with thought of Lao-tzu which root of being exists in nothingness.