북송(北宋) 사인화(士人畵)의 이상(理想)

Abstract

This thesis began from two questions about paintings in Northern Sung like this. Firstly, generally it is said that realism was given up in Yu󰐁n Dynasty and M. Sullivan said it was accomplished and was gigen in Sung Dynasty. In early Yu󰐁n Dynasty painters returned to painters in Tang Dynasty by Qi󰐁n Xuan(錢選) and Zh󰐃o Meng-fu (趙孟頫)and in late Yu󰐁n Dynasty four painters returned to painter in Northern Sung, especially Tung Yu󰐁n(董源). In Northern Sung Dynasty Kuo Hsi(郭熙) said, painting world was governed by Li Chéng(李成) and Fàn Kuān(范寬), and Why did late Yu󰐁n Dynasty four painters return to Tung Yu󰐁n? Is it because of southern landscape painting, or because of aesthetic value's change. Secondly, as the result of administration by civilians in Sung Dynasty many scholars painted and expressed their thought of painting as prose collections. What is the true meaning which their influence has continued until now? This, on the other hand, I think, influence of literati in Northern Sung as Ōu Yang Xiu(歐陽修), Sū Shì(蘇軾) made Kuo Hsi(郭熙) and Lĭ Táng(李唐) continue intense realism and in landscape painting match up realism in ink painting and color painting, complete Shēn Yuǎn(深遠) in perspective, paint one corner of rivers and mountains and convert painting󰡐one canvas painting(一幅畵) or small landscape painting. I think that Northern Sung’s painting, indeed, reached from technique to Tao. In Chinese painting expression in ink is divided into pò mò(破墨) and pō mò(潑墨)and pò mò has lead painting world. Pō mò(潑墨) to express knowledge by momentary intuition or feeling began in Tang Dynasty. However, according to development of Neoconfucianism or Taoism was attached importance to it. Differing from Western aesthetics before modern times, in Oriental philosophy sì-duan-qi-qíng(四端七情) as human natural looks has been recognized from the ancient time and Pō mò was used in expression of feeling and intuition, or inspiration. And in this thesis, I noticed that by Mľ Fú(米芾) who learned Tung Yu󰐁n and received the same valuation with Tung was turned up Tung and his role in Chinese painting history. Mi’s landscape painting was expressed nature which is concealed with cloud and mist with light and dark of ink and permeating. Core of his expression form is not by out line but piling up ink. It tries to express mass of object and he found it’s need. In early Sung Dynasty painting became a means to get rid of vulgar desires which break down life of human being with music and calligraphy and roots of objects. However, vulgar desires are to revive ceaselessly and studying painting must be continue. Such thought made Dèng Chūn(鄧椿) say, If character is high, vitality in art is also high. But if painters have not skill of brush and ink, it is impossible. In Northern Sung Dynasty scholars prepared for such skill and they became to evaluate inspiration and originality in art. As the result, two tendencies in late Northern Sung Dynasty were to search for resemble of object and conception or spirit, and characteristics of paintings were 1. poet and painting are uniformity 2. calm - light and pure(平淡天眞), 3. brush strokes are simple, conception, genius(天工), and originality(淸新), 4. constant principle(常理), 5. spontaneity and immediacy, 6. chì-yùn-shēng-zhi(氣韻生知).