老莊의 道, 言語, 藝術, 그리고 敎育

Abstract

The old China artists showed their own unique idea about the theory on haw to express the shape and spirit of an object. Basically, they gave emphasis on 'depiction of meaning' out of the practices literati creation. They thought, furthermore, that such 'depiction of meaning' could be truly achieved by describing 'natural sentiment' without any artificial trace contained. In addition, they understand 'natural sentiment' in relation with 'sentiment with meaning'. Considering this, at least, they seemed to emphasize spirit-oriented(神似); however, not limited to it. Denying the tradition relationship to follow the rule of ancients, they pursued a metaphysical mind of art which regarded harmony or variation of the nature as a mentor. They could accomplished their own distinctive world or art. From the standpoint of metaphysics, their unique art world contains a speculation, "This word composed of Chi. Based on this idea they emphasized a speculation that valued 'being vividly alive being changed', in their work of calligraphy and painting art. Particularly the old China artists expressed their lao-zhuang artistic philosophy an artistic subject in their works. In other words, they created a high standard of literati painting art by upgrading the subject of art to formative beauty on screen. For painting with meaning. they sought how to depict natural sentiment in their works. In this standpoint, they emphasized a speculation valuing change breaking the existing formalities. For, they wanted to created the works in which the rhythm of Chi and Nature's change and principle should be animated. This art of philosophy based on the lao-zhuang philosophy which means Tao did not fully and perfectly expressed by language and image. So if you understand the real meaning, you must forget the language and image.