시의 심상과 감각 전이 연구-박수근 그림 형상시를 중심으로

Abstract

Because of the similarities between the two genres, poetry and painting have constantly mentioned the interrelationship, in both East and West, from ancient times to the present. Korea has also discussed the intermediary between art genres; many have occurred in actual art. One of them is the modern poem using Park Soo-keun and his paintings as its topic. Park Soo-keun is an artist who has received much attention from the public until now by drawing the austere atmosphere of women, trees, and the countryside in the most challenging times of Korean ethnic communities using the harsh Matière technique. In this study, we analyzed the patterns and effects of the visual elements of the painting being transferred from poetry to images based on the five senses - visual, auditory, olfactory, gustatory, and tactile - for the Bildgedicht that poets wrote and appreciated Park Soo-keun's paintings. Visual images are bound to appear the most because poets see and appreciate the visual elements of the painting. When only visual images are revealed, they tend to present poetic concepts by being limited to the visual elements of the painting. The auditory image is sensed through sound derived from the object, and the olfactory image is sensed by the smell derived from the object. The poet imagines sounds and smells by targeting the visual elements of the picture, transfers the senses to poetry, and displays them as images. At this time, the invisible sound and smell appear based on the imagination or past experiences of the poet. Gustatory imagery tends to give a stronger impression than olfactory imagery. This is because the sense of smell is non-contact, while the sense of taste is contact. Unlike other senses, it has penetrating power in the body since taste senses in the mouth, so even if it appears short, it is intense. The tactile image is expressed as if it were felt by the skin. It is applied when expressing the painting style or drawing technique in combination with imagination. In particular, the Park Soo-keun painting has a stone-like texture of the painting itself due to the Matière technique, which stimulates the curiosity of poets, and the most frequent poetical works appear in visual and tactile images. The visual element of the picture triggers the image while the poet's view and personal experience become auxiliary concepts, and the image appears in the five senses. The scope of the image is not limited to the picture but is described as the poet's personal experience and beyond imagination. The image appearing in poetry is a sense and meaning newly assigned to the painting by the poet. Bildgedicht seeks to expand artistic senses as well as literary areas by multi-layeredly expanding the limitation of painting, which is a visual art that only senses with the eyes, through five-sensory images.