장자(莊子)의 ‘유(遊)’사상을 통한 광기(狂氣)의 의미 고찰

Abstract

In the traditional western philosophical thought, which emphasizes the rational and universal thinking, ‘Kwang’ has been regarded as an irrational concept. However, since the modern era, the concept of Kwang began to change. Kwang, which was regarded as a subject of surveillance and punishment, has been reevaluated through the aesthetic discussions of Schopenhauer and Nietzsche, and gradually began to become an important driving force of artistic creation. However, Kwang could not escape from seeing it as an expression of anger. On the other hand, in the Asian aesthetics, Kwang was seen not only in terms of negative aspects but also in terms of positive aspects such as pursuing liberation from spiritual bondage. Since Confucianism emphasized the form and tradition, it was critical about Kwang. Nonetheless, Confucius regarded Kwang as an infinite capacity with genuine emotion and progressive temperament. However, it was too large and therefore it should be finely trimmed eventually. Taoism is distinctly different from the Confucianism, but there exist similar characteristics between Yu of Zhangji and Kwang of Confucius. Yu comes from the spirit of ‘Eun-il' which has the meaning of 'following the trends' and implies the freedom from the bondage suppressing the natural instincts and hence playing in a state of Jigo, i.e., extreme highness. This concept contains ultimate ideals of Zhangji, 'Big' and 'Enterprising'. In the midst of the most confusing Chinese era, Wy-Jin and South and North Jo, artists made lots of insane and strange conducts due to the despair and anger at that time. However, they followed the concept of Yu and sublimated the Kwang to a free and inventive artistic spirit. In other words, in Asian art, Kwang is not only regarded as anger coming from the conflict and separation, but also as a driving force for positive artistic creation that seeks absolute freedom from realistic bondage.