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Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon 西化东策、西化东策、西化东源理论发展的哲学背景
Pub Date : 2022-09-30 DOI: 10.19077/tsoc.2022.41.07
Eun-A Kim
This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works). In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke. In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy. In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of call
本文旨在揭示的意义的思想SeoHwaDongChe(書畵同體:书法和绘画一样),SeoHwaDongChul(書畵同出:书法和绘画开始在一起)和SeoHwaDongWon(書畵同源:书法和绘画从同一根发芽)专注于搜索引擎优化之间的关系的理解(书法)和华(绘画)出现在Seo的美学和华流流经等时代唐、宋、元时期在中国。徐和华的关系从东池到东池,再到东园的过渡过程,包含着“徐和华从何而来”这样的艺术哲学层面的问题,展现了接近徐和华创作的文豪们的艺术精神和审美目标。这种思想还包含着绘画作品必须用书法的“笔法”和“笔意”来表达,才能充分实现文豪们所追求的艺术世界。首先,在这方面,需要从美学和哲学的角度来分析书法是一种什么样的艺术,才能正确理解东车、东哲、东元、东别的思想(中文畵:书画创作规律相同)。在中国的书画史上,每一件作品的创作都是从画一笔开始的。Seo和华和SeoHwaHyoNeungIlCheSeol之间的共性(書畫效能一體說:搜索引擎优化的理论和华有同样的效果)认为“Tāo(石濤)根据他IlHoikRon(一劃論:一个中风)的理论强调,每个画家都必须学习书法原则实际艺术创作活动。考虑到这样的重点,审视书法与绘画的关系,用书法的笔触创作绘画作品是可取的。也就是说,“东车”、“东铁”、“东院”、“东法”等人的思想被认为与“一笔”相关的哲学思想是一致的。在艺术创作趋向中,书法具有“取真论”的艺术精神,艺术家必须在形而上的层面上取真原则,并以此为基础进行书法创作。这种以书法形式为基础的书法形式与“观物而形”的思想有关,这种思想使艺术家们给文字形式和字体赋予了绘画的层次意义,简单地说明了为什么绘画必须采用笔法和书法的笔法。因此,在上述几个方面,本文从“一会龙”、“徐和玄”、“徐和玄”、“徐和玄”、“徐和玄”、“徐和玄”、“关木玄”、“画风字型”等几个角度,探讨徐和玄在中国历史上是如何与书画观念建立和变迁的。
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引用次数: 0
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Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.02
Myungsu Lim
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Pub Date : 2022-03-28 DOI: 10.19077/tsoc.2022.40.06
Jian Xu
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Pub Date : 2021-09-28 DOI: 10.19077/tsoc.2021.39.09
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引用次数: 0
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Pub Date : 2021-09-28 DOI: 10.19077/tsoc.2021.39.02
Han-bin Son
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引用次数: 0
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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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