東漢⋅東晉 시기 지식인들의 ‘생활과 취향’에 대한 미적 탐색 - 唐 陸曜의 《六逸圖》를 중심으로
Aesthetic discourse for life and taste of the intellectuals of a period of Eastern Jin and Eastern Han : Focusing on 《Painting of Liu yi(六逸圖)》 of Liu - yao(陸曜) in the Tang Dynasty
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《Painting of Liu yi(六逸圖)》 is Legendary Scene made by Liu-yao(陸曜) in the middle of the Tang Dynasty. This painting asks us how to get the picture you want to live as intellectuals through Life and taste of Ma-rong(馬融), Han-kang(韓康), Bian-shao(邊韶), Ruan-fu(阮孚), Tao- qian(陶潛) and Bi-zhuo(畢卓) in Eastern Han and Eastern Jin. Secular and artistry of intellectuals are in Liu-yao(陸曜)’s paintings by integrating conflicting elements of Pure and decorating, freedom from avarice and addiction and shaping them metaphorically. He let us experience mundane aspects of daily life and aesthetic aspects of the minds of intellectuals by showing ‘the secular life’ and ‘artistique life’ simultaneously throughout the paintings of girls, fame, money, clogs, nap, drink and seminudity. These implications in his paintings may be because he experienced and observed inability of intellectuals and the confusion of Tang Dynasty and then he captured the human aspects of intellectual wandering in social roles and self-conscious.
Abstract
《Painting of Liu yi(六逸圖)》 is Legendary Scene made by Liu-yao(陸曜) in the middle of the Tang Dynasty. This painting asks us how to get the picture you want to live as intellectuals through Life and taste of Ma-rong(馬融), Han-kang(韓康), Bian-shao(邊韶), Ruan-fu(阮孚), Tao- qian(陶潛) and Bi-zhuo(畢卓) in Eastern Han and Eastern Jin. Secular and artistry of intellectuals are in Liu-yao(陸曜)’s paintings by integrating conflicting elements of Pure and decorating, freedom from avarice and addiction and shaping them metaphorically. He let us experience mundane aspects of daily life and aesthetic aspects of the minds of intellectuals by showing ‘the secular life’ and ‘artistique life’ simultaneously throughout the paintings of girls, fame, money, clogs, nap, drink and seminudity. These implications in his paintings may be because he experienced and observed inability of intellectuals and the confusion of Tang Dynasty and then he captured the human aspects of intellectual wandering in social roles and self-conscious.
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