조선후기 조선풍의 노장미학적 연구

Abstract

The features of ‘Joseon-esque style’ are an independent cultural awareness, an artistic aesthetic cognition to realize a genuine emotion, and a creative artistic attitude to express a personality breaking from a highbrow classic. A relativistic way of thinking of Taoism makes people realize an innate nature of all things and acknowledge an intrinsic value as an individual existence. A relativistic perspective made the scholars in late Joseon dynasty break from a sinocentric and anthropocentric thought. They were aware of Joseon’s independent status and established a subjective cultural consciousness by recognizing the intrinsic value of Joseon culture. The aesthetic consciousness of ‘Joseon-esque style’ was affected by Taoist thought that the genuineness is immanent in all ordinary things and the aesthetic cognition that denies a fixed perspective of beauty. Through that, people regarded a realist world and a physical thing as the genuineness and considered that they could realize the genuineness only if they put a dispositional emotion into artworks. Thus, they made ‘now-Joseon’ as an object of artistic creation. Taoist thought emphasized an independent volition, a pure spirit, and a creating attitude through a way without the rule(無法之法) in an unconstrained aesthetic state of Jieyipanbo(解衣槃礴, to undress and stretch out legs, meaning that be informal and creative when an artist starts his or her work). Therefore, it provided the artists in the 18th century of Joseon with a conversion of perspective and an expansion of thought. Moreover, it made a characteristical aesthetics of abnormality possible. Likewise, Taoism became a philosophical foundation of creating ‘Joseon-esque style’ in the late Joseon dynasty and enhanced its artistic aesthetics. The consistent theme of discourse on ‘Joseon-esque style’ was the exploration and expression of the genuineness, and an earnest desire for the genuineness resulted in a subjective and creative art.