칸딘스키 예술론과 동양: 블라바츠카야 신지학의 영향을 중심으로

Abstract

The purpose of this study is to investigate the relationship between Kandinsky’s abstract paintings and his art theory and modern theosophy in western society in the early 20th century. Among Kandinsky’s paintings affected by theosophy, <Impression>, <Improvisation>, and <Composition> are the most typical series. Sixteen Ringbom said that these works have a “rising structure that reaches an insight into the mystery as the theosophical theory does”. Especially, it can be said that colors and images emanating from the <Composition> series were expressed as theosophical theory in the paintings, as Annie Besant and Charles Leadbeater, the most prominent theosophy scholars at that time, advocated in their book, 『Thought-forms』. Thus, Kandinsky has received a profound impact of theosophy on both building his art theory and creating his art works. In other words, his art theory and paintings can be said as aesthetic, pictorial representation of theosophy. This paper discussed if E. Blavatskaya and R. Steiner’s theosophical ideas have any relevance in Kandinsky’s art. In particular, this paper examined if the core concepts of Kandinsky's art theory, such as ‘inner sounding(внутвенное звучание)’ and ‘abstract mind(абстрактный дух)’, originated from theosophy. At the end of the paper, ‘eastern spiritualism’ which appeared commonly in both Kandinsky’s aesthetics and theosophical theory was briefly mentioned.