중국 고대 회화미학에 나타난 미술비평에 대한 연구 - 춘추전국, 위진남북조, 당 시대를 중심으로 -

Abstract

China's ancient Art critics requires high quality of humanity and nature. It started paintings by gentleman scholar and deep philosophes tasteless and uninterested. It is very important of Chinese's Art critics, Aesthetics, Philosophies and literatures. China's Art critics was consist of the Shìqì(士氣) and yìqì(逸氣). It could be evaluated as the highest level artistic condition which has continuously been thought in the realm of aesthetics. Also it was developed into one of the critics to ancient Chinese painting ideal and skills. And critics was admired as the best Aesthetics conception of Táng(唐) dynasty. By then it had been developed as a type of good Art critics. So it was very elegance and nobility and delicious. Paintings of China reflect dispositions and mobility of classical scholars and critical perspectives on works although there was no such term as art critique at that time. In view of formative aesthetics, critical paintings of China reflecting the literary spirit of classical scholars started with Gù,kǎi-zhī(顧愷之), who advocated art critic during the Wei-Jin and South-North Dynasties according to 『Lìdàimínghuàjì(歷代名畵記)』 of Zhāng,yàn-yuàn(張彦遠). Thereafter, art critiques and theories of Gù,kǎi-zhī(顧愷之), Táo,yuān-míng(陶淵明), Zhāng,yàn-yuàn(張彦遠), Cáo,Zhí(曹植), Sī,Kōng-tú(司空圖), and Xiè,hè(謝赫) brought in significant influence on painting critiques since the Táng(唐) Dynasty. In particular, during the periods of Chūnqiū(春秋), Wèijìn(魏晉), Táng(唐), various art theories emerged with interests in literary men’s paintings, and attempts for artistic philosophies were made actively. Accordingly, art theories and critical perspectives came to hold a greater position in the context of artistic thoughts. As such, examining the perspectives of art critiques reflected in Oriental paintings and the base of artistic philosophies is examining the mentality of classical scholar artists and the focus of critiques reflected in their paintings. In addition, this will be a way of examining and analyzing the development of Oriental paintings and aesthetics of paintings in art-critical perspectives. Indeed, such critical perspectives affect Sòng(宋), Yuán(元), M̌íng(明) directly or indirectly, and thus this study is of significance in that it helps more specifically and systematically analyze and criticize, Oriental ancient paintings that reflect the mentality of literary men, which have been understood vaguely.