미적 판단에 관한 蘇軾 畫論의 모순성과 한계
The Paradox in Su Shi’s Aesthetic Judgement on Painting
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Su Shi 蘇軾 (1037-1101) contended that, through keeping distance from object, the expansion of the aesthetic experience is possible. However, in spite of the possibility of the universal aesthetic appreciation, there remains a paradox in Su Shi’s argument. Su suggested an appreciator apprehends the principle defining the existence of an object, which means that Su failed to appreciate the aesthetic object from its formality and impression itself. Not only does the aesthetic judgment based on the principle or concept of an object restrict the free operation of the imagination and Verstand, but it also cannot secure the universality of the aesthetic experience. Conclusively, Su Shi, on the one hand, asserted that one should be disinterested in the object, but, on the other hand, he could not escape from the theoretical interest. This paradox is caused by the contemporary idea that the painting is the reproduction of an object and the Confucian tradition which put stress on the approach to the object’s concept and principle.
Abstract
Su Shi 蘇軾 (1037-1101) contended that, through keeping distance from object, the expansion of the aesthetic experience is possible. However, in spite of the possibility of the universal aesthetic appreciation, there remains a paradox in Su Shi’s argument. Su suggested an appreciator apprehends the principle defining the existence of an object, which means that Su failed to appreciate the aesthetic object from its formality and impression itself. Not only does the aesthetic judgment based on the principle or concept of an object restrict the free operation of the imagination and Verstand, but it also cannot secure the universality of the aesthetic experience. Conclusively, Su Shi, on the one hand, asserted that one should be disinterested in the object, but, on the other hand, he could not escape from the theoretical interest. This paradox is caused by the contemporary idea that the painting is the reproduction of an object and the Confucian tradition which put stress on the approach to the object’s concept and principle.
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