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Study on Chojeong Park Jega’s View of Painting to Empty Mind and Cultivate Nature 朴济甲朝正的空心养性画观研究
Pub Date : 2022-09-30 DOI: 10.19077/tsoc.2022.41.04
Myungho Lim
Park Jega was a scholar and thinker active in the late 18th century of the Joseon Dynasty. Although he never presented a precise painting theory, he said that he has been a painting enthusiast since childhood and continued to enjoy painting even after he grew up. Thus, in this paper, I analyzed his view of the painting by investigating his preface, postscript, and inscribed poem of painting. I briefly summarized Park Jega's view of painting to empty the mind and cultivate nature as follows. First, I analyzed the aspect that he emphasized the form of spirit as an image beyond the image from the stance of focusing on the rhythm of spirit. As a result, Park Jega actively affirmed the value of calligraphy and painting by applying the theory that the boundary of poetry is mutually compatible with that of painting to the creation of calligraphy and painting. He embodied the natural painting will that exudes the spiritual taste of literati painting. Also, he realized the world of describing the thinking while faithfully possessing the formative beauty of resembling the form. Thus, he was faithful to the rhythm of spirit that expresses the image beyond the image. Second, I examined the fact that he created the vitality of the natural taste of nature in terms of the natural spirit. As a result, the emptiness to empty the mind is a premise that can achieve aesthetic communion with external objects and was also related to Park Jega’s open thinking. Since people already have preconceived notions, they should empty their minds before painting. Park Jega called that prejudice Gakmak(角膜). He said people must first remove the Gakmak that blocks them from recognizing beauty as beauty. In short, Park Jega insisted on discarding stereotypes and closely observing objects because people can create a good painting only in an unintentional state to obtain the form of the spirit. We cannot fully comprehend Park Jega's view of painting through the above discussion. It is necessary to have a broad understanding of his worldview and an integrated discussion of his poetry, calligraphy, and painting to understand his view of painting more in-depth.
朴济甲是活跃在朝鲜18世纪后期的学者和思想家。虽然他从来没有提出过精确的绘画理论,但他说自己从小就是一个绘画爱好者,长大后也一直喜欢画画。因此,本文通过考察他的序、跋、题诗来分析他的画观。我将朴济甲的“清空心灵、培养自然”的绘画观简单概括如下。首先,我从注重精神节奏的立场出发,分析了他强调精神的形式作为一种超越形象的形象的方面。因此,朴济加将“诗与画的边界相融”的理论运用到书画创作中,积极肯定了书画的价值。他体现了自然的绘画意志,散发着文人绘画的精神情趣。他在忠实地拥有形似形式的形式美的同时,也实现了描写思维的世界。因此,他忠实于表现超越形象的形象的精神节奏。其次,我考察了他从自然精神的角度创造了自然情趣的生命力。因此,将心灵空化是实现与外界事物审美共融的前提,也与朴济加的开放思维有关。既然人们已经有了先入为主的观念,那么在绘画之前就应该清空头脑。朴济加称这种偏见为“Gakmak”。他说,人们必须首先消除阻碍他们认识美就是美的Gakmak。简而言之,朴济加坚持摒弃刻板印象,密切观察对象,因为人们只有在无意识的状态下才能创造出一幅好画,以获得精神的形式。通过以上讨论,我们无法完全理解朴济甲的绘画观。要更深入地了解他的画观,有必要对他的世界观有一个广泛的认识,对他的诗、书、画有一个综合的论述。
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引用次数: 0
楚亭 朴齊家의 書藝觀 一考 楚亭 朴齐家의 书艺观 一考
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.02
Myungsu Lim
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引用次数: 0
조선시대 17세기 한글 간본문헌의 서체특징과 서예사적 고찰 朝鲜时代17世纪韩文间正文轩的书体特征和书艺史考察
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.01
J. Park
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引用次数: 0
吴大澂东北边务书法遗迹考论 吴大澂东北边务书法遗迹考论
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.06
Jian Xu
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引用次数: 0
명 말 기녀 서화가 마수진의 난죽화에 관한 연구 明末妓女书画家马秀珍的兰花研究
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.04
Heui-yeon Sur
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引用次数: 0
김충현의『槿域書譜』에 반영된 20세기 서예미학의 특성에 관한 연구 金忠贤《20世纪书法美学特征的研究》
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.03
Jung-Ja Moon
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引用次数: 0
略论褚遂良对初唐楷书审美风格形成的贡献 略论褚遂良对初唐楷书审美风格形成的贡献
Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.05
Yi-wei Zhang
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引用次数: 1
A Study on the Calligraphy of Goodwill in Missionary Ambassador 传教士亲善书法研究
Pub Date : 2021-09-28 DOI: 10.19077/tsoc.2021.39.02
Han-bin Son
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引用次数: 0
Mixed comments on Zhang Bi s cursive script 对张弼草书的褒贬不一
Pub Date : 2021-09-28 DOI: 10.19077/tsoc.2021.39.09
Yan Liu
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引用次数: 0
A Study on the Construction of auspicious Implication in Jian zhi(剪纸) of Folk Art 民间艺术简志中吉祥寓意的建构研究
Pub Date : 2021-09-28 DOI: 10.19077/tsoc.2021.39.10
zhi-chun xu
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引用次数: 0
期刊
The Korean Society of Calligraphy
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