ScholarWorks@숙명여자대학교

초록

This thesis tried to clarify beauty of paintings by Zhao Mengfu (趙孟頫: 1254~1322) through the theory of old intent (古意) art, his theory of aesthetics. The Han Chinese elite could not take any national examination and pursued the spirit of old things (高逸) and the hidden mind (心隱) in various places writing poems and letters and doing drawings because Mongols ruled Han Chinese for nearly a hundred years in the Yuan Dynasty. Of course, Zhao Mengfu was from the royal family(宗室) in the Southern Dynasty, but he entered the royal court of the Yuan Dynasty, became Hallimhaksaseungji(翰林學士承旨), and was raised to Wigukgong(衛國公) and received a posthumous title of Munmin(文敏). However, he was shameful and longed for the hidden mind for life because being faithful to the Yuan Dynasty caused him tremendous emotional distress. So he made contradiction and deep regret in his life the foundation of his unique art. This background made Zhao Mengfu pursue the theory of old intent aesthetics, that is the spirit of literary persons who criticize art of the time by seeking “meanings(意)” of old persons and drawings. In addition, old intent pursued by Zhao Mengfu is based on the old and elegant (高古) spirit which is revealed in his paintings and the characteristics which are not vuglar and are extraordinary or above worldly things are shown in it. And it was expressed as simple shapes due to natural beauty(自然之美) of Taoism that transcended shapes. However, the shapes in the paintings by Zhao Mengfu are simple, but they are hidden(逸) art that reveals the spirit well. And as his technique of calligraphy is expressed as excellent writing and drawings(逸筆) which are free, his unique and simple(簡率) beauty stands out. Especially, his technique of calligraphy was applied to his paintings, but it made his paintings have free and quick rhythms. And all these things were the result that aesthetic styles, ideal, and hobbies(趣味) from prosperity of literati paintings were changed. In addition, Zhao Mengfu’s old intent art had an effect on Ni Zan’s excellent spirit(逸氣) aesthetics and furthermore, Bada Shanren in the Qing Dynasty who expressed liveliness in his paintings with one simple stroke of a brush.

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