전통회화 교육을 위한 평담천진(平淡天眞)사상의 고찰

Abstract

In the era of pluralism, there has been increasing attention on cultural identity and tradition. This study aims to uncover the limitations of current ways of teaching traditional art in school, and to search the possibility of teaching Korean art based on the in-depth understanding of the philosophy and aesthetics of tradition. In order to develop a concrete argument, this study focuses on the traditional idea of Pyong-Dam-Chun-Jin(平淡天眞-calm, lucid, and pure), which reflects the Oriental world-views, philosophies and art theories. Considering the explanation of the concept of 'lucidity' in Confucianism, Buddhism, and Taoism as well as Dong Qichang's art theory, Pyong-Dam-Chun-Jin is derived from the unique idea of Oriental value systems and paintings, going beyond a mere technique in paintings. The implications of Pyong-Dam-Chun-Jin for art education are as follows. First, the emphasis should be placed on the relationship between the idea of Pyong-Dam-Chun-Jin and the Oriental thoughts that attempt to reveal the essence of the object and to unveil the personality of the artist through painting. Second, it is important for students to understand the integrated relationship between lines drawn with Indian ink and coloring. Unlike Western watercolor paintings, the contour lines are not merely to separate the object from the background, but to express the essence of the object itself. In the same way, coloring is not applied to fill up the empty space inside the object, but to show the mental and spiritual state of the painter. Third, the comparative analyses of Oriental paintings and Western paintings have a critical limitation in teaching the philosophies and thoughts of traditional art, especially when the analysis mainly deals with formalistic comparison. Therefore, Pyong-Dam-Chun-Jin should be taught based on its true meaning and value so as to help students discover cultural identity and esteem through their own personal experiences with traditional art.