Earticle

초록

영어

"God" is an extremely important aesthetic category in the history of ancient Chinese painting theory, which originates from its fundamental connection with the philosophy of pre-Qin and Han Dynasties, and the metaphysical Buddhism of Wei and Jin Dynasties. In Wei and Jin Dynasties, "God" broke the barrier of bone study in Han Dynasty, expanded from figure painting to landscape painting, changed from the god of object to the god of subject, and then evolved into aesthetic needs. In Sui, Tang, Song and Yuan dynasties, "God" entered the field of painting criticism and became the grade and standard for evaluating calligraphy and painting. In Ming and Qing Dynasties, "God" turned from the external world to the combination of subjective and objective, expanded and sublimated continuously in the combination of changes, and finally jumped to one of the core categories of painting aesthetics. Calmly examining the category of "God", it is not difficult to find that its emergence is not created or constructed by one person, but the result of the joint efforts of philosophers and painting theorists in successive dynasties. The use of "God" is very extensive, its main points are as follows: the description of the object; The inner spiritual nature of the work; The creative subject's spirit, soul and artistic thinking activities; The highest level of artistic creation. "God" contains multiple meanings in the history of Chinese painting theory. It is the unity of god of subject, God of object and God of subject and object. Its aesthetic purport is mainly embodied in four aspects: god meeting, spirit thinking, spirit charm and spirit environment, which is helpful to promote the expression of local art criticism. Most of the existing papers analyze the "God" theory in the artist's painting thoughts, such as "conveying God" and "form and spirit". Representative study "A History of Chinese Painting" - Martin J. Powers explores the development of the aesthetics of Chinese painting, specifically the role of "gods" in painting. The Spirit is Vivid: Animating the Spirit of Song and Yuan Paintings The Spiritual Qualities of Song and Yuan Painting (Zhuo Li) - Zhuo Li analyzes the relationship between "spirit" and "spirit" in Song and Yuan painting. The research on the concept of "God" in Chinese painting covers many aspects, such as philosophical background, aesthetic thought, painting theory and contemporary reflection. Although there have been abundant research achievements, there is still a lot of room for the transformation and re-interpretation of traditional aesthetic categories in the modern context. This paper explores the concept of "God" in many aspects, and conveys its importance succinctly through changes in different times compared with existing papers. It Outlines the complex historical, philosophical and artistic background to help readers quickly understand the concept of "God". This paper mainly discusses the ideological connotation of "God" category, sorts out its development vein and analyzes its aesthetic purview of painting, which will provide a basis for readers to understand and study the concept of "God" in Chinese painting more deeply.

중국어

“神”是我国古代画论史上极为重要的一个审美范畴，这源于其与先秦汉代哲学、魏晋 玄学佛学的根性联系。魏晋时期，“神”打破了汉代骨相察举的藩篱，从人物画扩展至山水 画，从客体之神向主体之神转捩，进而演变为审美的需要。隋唐宋元时期，“神”进入绘画批 评领域，成为品评书画的等级与标准。明清时期，“神”从外部世界转向主客观的结合，在通 变化合中不断拓展与升华，最终跃迁至绘画美学的核心范畴之一。冷静审视“神”范畴，不难 发现，其出现绝不是由一人独创或建构，而是历朝历代哲人、画论家共同努力的结果。“神” 的运用极为广泛，举其要者如下：对描写对象的刻画；作品的内在精神本质；创作主体之 精神、心灵及艺术思维活动；艺术创作所达到的最高境界。“神”在中国画论史上包含着多重 含义，是主体之神、客体之神及主客体之神的统一，其美学旨趣主要体现在神会、神思、 神韵、神境四个方面，对推动本土美术批评话语表达有所助益。

목차

Ⅰ. 序论
Ⅱ. “神”范畴的思想文化基础
1.“重神轻形”：庄子形神观的基本立场
2.“征神见貌”：人物品藻中的重神趋向
3.“神也者，圆应无生”：佛学中的“形尽神不灭”观
Ⅲ. “神”范畴在中国古代画论中的多维呈现
1. 魏晋六朝画论中的“神”范畴
2.隋唐宋元画论中的“神”范畴
1. 明清画论中的“神”范畴
Ⅳ. “神”范畴的绘画美学旨趣
1.神会
2. 神思
3. 神韵
4. 神境
Ⅴ. 结语
<참고문헌>
ABSTRACT

키워드

저자

• Zhu Feiwen [ 경기대학교 일반대학원 글로벌파인아트학과 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동양예술 [Oriental Art]

• 간기

  계간

• pISSN

  1975-0927

• 수록기간

  2000~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 600 DDC 700