히사마쓰 신이치(久松真一)의 선예술론 재고-야나기 무네요시(柳宗悦)의 비판을 중심으로-

Abstract

This paper aims to relativize existing theories by reviewing Muneyoshi Yanagi’s criticism of Shinichi Hisamatsu’s theory, a major author of Zen Culture and Zen Art. Hisamatsu’s Zen and Art(1958) prescribed Zen discourse and representation are the most standard and powerful regulations of Zen Art to this day. In this book, Hisamatsu’s theory of Zen Art defined Zen Art as ‘the Self-expression of the Formless Self’ and its characteristics as ‘the 7 characters of Zen Art.’ In response, Yanagi pointed out that these works do not conform to the ‘the 7 characteristics’ prescribed by Hisamatsu, pointing out that these works do not meet the ‘the 7 characteristics’ prescribed by Hisamatsu, criticizing that this was the result of a conventional acceptance of ‘existing understanding,’ and suggesting that ‘Ordinary Mind’ be used as an alternative instead of ‘the 7 characteristics.’ This criticism is based on Yanagi’s perception ① that there is no special style called ‘Zen-style’ and ② ‘existing understanding’ is to see the object by means of an ‘Idea’. In this paper, it was confirmed ① that the world of enlightenment is not stylized by reviewing the meaning of ‘Ordinary Mind as the Way (平常心是道)’ and ‘Willows are Green, Flowers are Red (柳緑花紅)’, and ② that the ‘the 7 characteristics’ are not essential an inevitable originating from Zen, but are extremely data-dependent and inductive results. According to the main idea of Zen, no specific style can be derived. Through this, it was possible to confirm the meaning of Yanagi’s point of view that Hisamatsu’s theory of Zen Art is the result of seeing objects through these prejudices and ideas formed by filters. Yanagi’s criticism includes caution against the fact that the representation of Zen is bounded and defined in a particular area. It can be said that he tried to open up the possibility of a new interpretation by challenging the conventional acceptance of existing understanding in Hisamatsu’s theory of Zen Art.