사의(寫意)와 사생(寫生) 개념 고찰

초록

On the discourses of Modern Korean Painting, the concept of ‘XieYi(寫意)’ is mainly discussed in the concept of ‘XieSheng(寫生)’ in the relative perspective. It considers ‘XieYi(寫意)’ as an expression of subjective consciousness, and ‘XieSheng(寫生)’ as that of object itself as seen, that is grounded on the dichotomous distinction between subjectivity and objectivity. Thus, It is natural to appear on such ideas as the theoretical stronghold to crystallize the oppositional frame between ‘NanHua(南畵)’ and ‘BeiHua(北畵)’ in East Asia Paintings, originated from the concept of ‘XieYi(寫意)’ and ‘XieSheng(寫生)’. Furthermore, ‘XieYi(寫意)’ became a ground of disputes on abstraction of the Korean Painting, and departure point of emphasizing artist excellences of East Asia Arts over Western Arts from those who developed artistic theories on the East Asia supremacy of Arts over Western Arts such SimYoungSup, KimYoungJun, LeeTaeJoon in modern period of Korean history. In this article, I am pursuing the conceptual development process of ‘XieYi(寫意)’ that is a point of departure for the abstraction discussions in Korean Painting, logically demonstrating that the concept of ‘XieSheng(寫生)’, is not the relative concept of ‘XieYi(寫意)’, illuminating discussions on abstraction in Korean Painting which stand on the disjointed premises from the start, and finally clarifying the understanding of nature of the Art.

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