아쿠타가와 류노스케의 『추산도(秋山図)』 - 한산습득(寒山拾得)과 회화적 기법을 중심으로 -
Akutakawa Rhyeunoske' Shoo Zan Zu - Focus on Kanzanzitoku and Use of Painting Techniques -
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Shoo Zan Zu(秋山図, The painting of fall mountain) written by Akutakawa Rhyeunoske is a story in which two descendant masters talk about authenticity of 「Shoo Zan Zu」- a painting of Hwang Ilbong(黄一峰) in China. The dialogues of these two masters ends up in a scene of laughter with the conclusion that whether the painting actually exists or not does not matter as long as it remains in mind. This means that the abolute aesthetics which the artist pursues is a kind of spiritual value rather than any form of substance. In particular, the last scene depicting those two masters chatting with fall mountains in the background is a kind of Kanzanzitoku(寒山拾得). Revealed is an enchanted scene, showing that they reach the state of vimutti(=free from the secular world). It is the result of matching up <contents> with <form> in complete harmony. Thus, the absolute aesthetics the author is pursuing in his story is not the painting, but rather the enchanted scene of Kanzanzitoku by utilizing painting techniques.
Abstract
Shoo Zan Zu(秋山図, The painting of fall mountain) written by Akutakawa Rhyeunoske is a story in which two descendant masters talk about authenticity of 「Shoo Zan Zu」- a painting of Hwang Ilbong(黄一峰) in China. The dialogues of these two masters ends up in a scene of laughter with the conclusion that whether the painting actually exists or not does not matter as long as it remains in mind. This means that the abolute aesthetics which the artist pursues is a kind of spiritual value rather than any form of substance. In particular, the last scene depicting those two masters chatting with fall mountains in the background is a kind of Kanzanzitoku(寒山拾得). Revealed is an enchanted scene, showing that they reach the state of vimutti(=free from the secular world). It is the result of matching up <contents> with <form> in complete harmony. Thus, the absolute aesthetics the author is pursuing in his story is not the painting, but rather the enchanted scene of Kanzanzitoku by utilizing painting techniques.
참고문헌 (18)
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