朝鮮朝 儒學者들의 朝鮮朝 後期繪畵認識에 관한 연구

Abstract

This paper aims to investigate to Korean traditional arts, especially constructing of Neo-Confucianists in Choseon dynasty. According to Neo-Confucianists in Choseon dynasty, the literary art neither an instrument of the state examination or an medium to recite the beautiful nature. Such artists genres were means to express the originality and wholeness of human life excitements. And there was a long tradition to consider the learning as a way of carrying life well in human society, so that learning was connected deeply with confucian moral and education. Human cultivation was so highly appreciated that the problem of aesthetic education was considered very important. Especially literati painting is rather related to human nature and confucian moral teachings. And to realized this confucian ideas of nature, literati painter and Neo-Confucianists in Choseon dynasty composed a song of Mu-i nine scenery, making a model of Zhou Xi's song of Mu-i nine scenary. Choseon dynasty's traditional aesthetic thoughts has various traits contrasting to western aesthetics. There is a notion of unity among poetry, calligraphy and painting, emphasizing the mind rather than form in artistic making. Especially poetry and painting are the two oldest branches of Chinese art and Neo-Confucianists in Choseon period's painting. Since old times Choseon period's artists had the point of view that poetry and painting paralleled each other, possessing an identical aesthetic quality. Although poetry differ from painting in the midium expression, the artists had recognized poetry and painting had the common feathers in the function of human mind and principle. Then, by means of Su Shi's statement, "Within the poem is a painting, and withen the painting is a poem", was a central concern in Choseon artistic culture among critics, theorists, and both scholar-official and court artists.