ScholarWorks@숙명여자대학교

초록

This thesis aims to explore the cultivating boundary of Lao-Chuang thought shown in Yun Shouping’s landscape paintings, and also to analyze how visually his arts realized this philosophical thinking. The eastern landscape is the artistic genre that has expressed the relation between nature and human through the philosophical/aesthetic depth, so the artists form different boundaries according to the philosophical depth and inner insight viewing the nature. Such boundaries are closely connected to the context of eastern traditional arts in which the artistic boundary is identified with the boundary of life. Even though Confucianism and Taoism took each different philosophical path, they commonly regarded the cultivation of life as an important element of arts. Especially, Chuang-tzu emphasized the ‘state of mulhwa’ reaching the stage of essential cognition by transcending senses through the cultivation like 'empty state of mind', 'sitting position reaching the natural & peaceful state', and 'state of existence without self-consciousness or vanity'. This philosophy became driving force for forming the multilayer character of artistic experience, and Yun Shouping’s arts also shows Chuang-tzu’s cultivating state. The boundary of desolateness & coldness and the boundary of silence shown in Yun Shouping’s works, are closely related to the stage of cultivation presented by Chuang-tzu, which is led to the artistic stage experiencing Tao beyond senses. Yun Shouping’s landscape expresses the boundary showing the unity of ego and outside world as the ideal state by Chuang-tzu, which shows the aesthetic completion through the harmony of nature and human. This is similar to the aesthetic sense of sublimity and elegance mentioned by Kant, reflecting the importance of aesthetic experience aiming to achieve the psychological unity beyond sensory beauty. This study is significant as one of the first attempts aiming to explore the philosophical depth and cultivating boundary inherent in Yun Shouping’s landscape after exceeding the limit of previous studies on Yun Shouping mostly focusing on his flower-and-bird paintings. Through this process, this study aims to newly illuminate the philosophical meanings and artistic representation method of Chuang-tzu’s cultivating boundary as the key concept of eastern aesthetics, and also to concretely examine the aesthetic meanings of Yun Shouping’s works in the eastern arts.

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