중국 문학예술의 초월적 시공간

Abstract

This paper is the third article of the project named "Expression of Transcendental space-time in Traditional East Asian Thoughts and Arts". The first is "Perspectives of Time and Space in Western scientific philosophy"(2018), and the second is "Interpretation of scientific philosophy on East Asian view of Space-time"(2019). Chapter One of this paper discusses the concepts of entanglement, locality, flexibility, and probability in terms of space-time in contemporary physics based on the General Theory of Relativity and the Quantum Physics. This chapter mainly reinterprets the correlation of the view of the world between The Book of Change, Taoism, and Buddhism thoughts and Modern Physics. Specially, this discussion focuses on Hidden variable theory of David Bohm and Loop quantum gravity theory of Lee Smolin and Carlo Rovelli. Chapter Two examines transcendence of space and time in Chinese poetry and novels. Chinese poetry has developed not only its metaphoric transcendental feelings from resonance with nature-friendly Chinese culture but also the distinctive usages of aesthetical tunes and meanings of an Chinese language Hanzi. In Chinese novel, it has a distinguishing remark of communication with real world and potential world. I infer that it is very similar to Laozi's parallel view of the world, i.e. the phenomenal world[有, 可道] and the potential world[無, 常道]. The potential possible world could be connected with the real world through the law of cause and effect of sympathy or ethical motivation. I think this is similar to David Bohm's hypothesis of explicate order and implicate order in Humanistic viewpoint. In Chinese novel the potential world is a hidden possibilities in the real world. The characters of these two worlds lead to the ending from cause and effect on the situation of entanglement. Chapter Three explains the meaning of space-time re-arrangement in Chinese paintings. Chinese paintings prefer the representation of mental eye to the visual world. So the Chinese landscape painters like to express his mind with omission, rearrangement, refraction of objects, which are not the same as the perspective and chiaroscuro in Western paintings. The great writer Su Shi(蘇軾) in Song Dynasty created the genre of Literati painting, which was an embodiment of author's soul about the World. In his paintings, there is an core concept of invisible world that is called Wu(無) or Kong(空) in East Asian thoughts such as Taoism and Buddhism; therefore, Su Shi used a black-and white drawing(水墨畵) and preferred negative space in his paintings. The paradoxical transcendental route to Everlasting Truth(常理), I think, this is a distinguishing characteristics in Chinese and East Asian paintings from Western ones. Concerning the transcendence of space and time of East Asian thoughts, literature and art, we can finally say that there are significant points of contact in terms of the perspective approach of the world between East Asian thoughts containing the literary art and modern physics including General Theory of Relativity and the Quantum Physics, despite their definitely different origins.