‘흥(興)’, 그 우연성과 진성성에 대한 고찰— 예술창작의 조건과 심미적 효과로서의 ‘흥’ —

Abstract

In the Oriental classic art theory, 'Xing(興)' is one of the very significant concept to expose the process of aesthetic experience surrounding the secret of creating art and appreciation. Like "adding to the amusement(Xing:興)", "enjoying unexhausted fun(Xing:興) or "humming unconsciously in the excess of mirth(Xing:興)," gusto(興趣) is automatically provoked due to excitement and enjoyment. And it leads a member, participating to the subject or play of creating art, to the new world called the aesthetic imagination, being away from the utilitarian value called the reality. In other words, it was considered to a transcendental means. Undoubtedly, being full of fun itself does not directly indicate the artistic achievement or the effect of an artwork, but without the process of being full of fun, it is impossible to step into the world of aesthetic impression. 'Xing(興)'forms the subject and object to one conscious space by being absorbed the aesthetic subject in the object of expression. The appearance of the letter 'Xing(興)'needs the awareness of togetherness, and it expresses the process of mental engrossment. The concept of 'Xing(興)' is not 'dance' itself, but it is deeply related to the origin of dance. 'Xing(興)' contains the characteristic elements of 'dance' like to lift, to rotate, to shout 'chu-im-sae(the sound for adding to the amusement in pansori),' and to move to the rhythm. One of the important purposes of the primitive songs and dances was to attain the mental transcendence and to communicate or to unite with god throughout dance. In the Yin Era(殷代), the most significant form of a religious service was dance. In a religious service, dance, like drinking alcohol, was for a deity(神明), so to speak, the appearance of god, theophany, and communication with god. The physical and mental excitement through dance in ecstasy state or taking alcohol and drug was the first connotation of 'Xing(興).' Hereafter, the concept of 'Xing(興)' was widely applied in the theory of Chinese poetry, and it was deeply penetratedto the art theory as well. Among the existing and systematically arranged old documents, 'Xing(興)' firstly appeared in <The Analects of Confucius(論語)>. In <The Analects of Confucius(論語)>, essays about 'Xing(興)' appeared many times such as "XingYuShi(興於詩)" or "ShiKeYiXing(詩可以興)," and it deeply related to <Poetry(詩)>. In the art theory, the concept of 'Xing(興)'began to function importantly from the Wei Chin Era when the concept of 'Xing(興)' was closely correlated with 'Qing(情).' The men of noble birth(士大夫)of Wei Chin's recognition - they believed that throughout 'Qing(情),' the truth of object can be revealed or be able to understand one's true heart(眞情) - defined the new concept of 'Xing(興),' and taking this opportunity, they began to be aware of art. Until this period, the meaning of poetry, understood as "poetry tells meaning(詩言志)" by means of remembrance or record, was changed to the pure aesthetic meaning, "poetry tells Qing(詩言情)." To summarize the understanding on 'Xing(興),' firstly, it expresses the aesthetic feeling or sentiment of the subject, not the logical expression. Secondly, with much 'Xing(興)' and sentiment, we can see the truth of a certain situation or an object. Thirdly, 'Xing(興)' reveals itself by chance, not by intention. Fourthly, 'Xing(興)' accompanies with gratification. Fifthly, 'Xing(興)' is always new and endlessly generated, but it won't return once it is gone; in other words, it has 'one-time' characteristic. Thus, 'Xing(興)' transcends the utility called reality, and it functions as motive of creating art to enter the aesthetic subject to the new world of artistic imagination.