본 논문은 연구자의 기억 속에 중첩된 감정들을 대상에 이입하여 드러나는 조형을 동양의 고유한 사유에 기초하여 이해하고자 하는 연구이다. 이런 과정을 통해 탄생한 작품은 하나의 개체로서 생명력을 가지고 연구자와도 소통할 수 있는 주체임을 이해하였다. 이를 바탕으로 연구자 작품의 조형적 표현을 분석하고 연구자에게 미치는 의미를 검토하여 연구를 진행하였다.
동양에서 자연은 끊임없이 생동하고 소통하며 변화한다고 본다. 그리고 변화는 새로움으로 탄생한다. 만물의 생명력은 끊임없이 움직이고 변화하는 생성의 과정을 지닌다는 개념은 도가적 사상에서 대표적으로 나타난다.
본 연구의 사상적 배경으로 도가의 대표적 사상가인 노자와 장자의 문헌들을 통해 그 사상을 살펴보고 노장은 생성중심주의를 말하고 있음에 대해 고찰하였다.
도가 사상은 음과 양이 순환으로 그 균형을 이루고 이러한 순환은 생명 전체를 유지시킨다는 것을 바탕으로 하고 있다. 이것이 가능한 것은 서로 소통하는 가운데 자연스럽게 ‘변화’하기 때문이다.
동양에서 그림을 그리는 것은 단순히 풍경과 사물을 베껴내는 것에 그치지 않고 그리는 이의 생각이 담긴 이상향을 그리는 것이었다.
이러한 노장사상과 화론의 연구를 통해 무한한 사유 공간과 이상세계를 나타내는 ‘평담천진’의 동양적 자연관이 연구자의 작품 속에 깊게 스며들어 있음을 확인하였다.
연구자는 유년기의 트라우마와 그리움이라는 상반된 감정을 동반하고 있다. 현재 생활에서 자연을 체험하고 소통하면서 느낀 자연이 지니는 생명의 흐름과 리듬에서 시작된 자연스러운 몸의 반응으로 조형이 표현되었다. 기억을 바탕으로 하는 중첩되는 붓질은 부정적인 감정의 기억들을 중화시켜주었고 새로운 창작을 할 수 있도록 이끌어 주었다.
연구자의 작품 분석에서는 앞에서 검토한 이론을 토대로 창작 과정에서 연관되어 표현되는 결과들을 살펴본다.
작품의 내용분석에서는 객관적인 시선을 통해 연구자의 지나간 시간에 대한 작품 제작과정과 조형의 의미를 분석하였다. 과거의 기억들을 되짚어 감정을 재생하고 새의 조형에 이들을 이입하여 자아를 표출해가는 과정은 자신을 이해하는 과정이기도 하였다. 이 과정을 거쳐 새롭게 시작된 작업은 중복된 붓질의 리듬이 만들어내는 심상의 풍경이 조형적으로 드러났다.
연구자는 작품이 진행되면서 붓질로 나타나는 흐름이 감정의 흐름을 따라가기 시작하였다. 이 표현법은 <율>과 <결>의 연작으로 이어졌다. 연구자의 작업에서 표현되는 ‘결’의 조형은 ‘율’의 작업이 진행되면서 점점 세밀해진 붓질로 인하여 생기는 무늬와 리듬은 내면에서 비롯된 감정의 기억들이 쌓여 나타난 시각적 형태이다. 이 작품들을 제작하면서 화면에 나타나는 리듬을 통하여 내면을 치유하고 새로운 생명력을 분출하는 조형을 생성할 수 있었다.
연구자는 어머니의 편지를 직접 태워 제작하는 과정을 통해 마음에 쌓아둔 슬픔의 기억을 소멸시키고자 하였다. 타고 남은 재는 그림의 재료로 재탄생하여 먹색이 지닌 ‘현(玄)’의 의미와 연구자의 기억 속의 상처를 치료하는 과정으로 그 의미가 더하여진다.
작품의 주제는 객관적인 시각으로 바라본 사물 혹은 풍경이 아닌 연구자만의 경험과 무의식 속에 쌓인 감정의 정서가 바탕이 된 것이다.
자연의 생명력이 연구자와 동화되어 마음을 조화롭게 만들었다. 이를 통한 치유와 자유를 느끼는 과정은 생명의 변화와 순환의 과정이다.
작품의 표현기법분석에서는 연구자가 사용하는 붓질의 점묘 기법과 색채의 사용을 분석하고 연구자의 숯가루 제작방법과 그 배경에 대해 살펴보았다. 작품의 변화와 함께 감정을 담아내는 기법으로 발전한 점묘 기법은 연구자의 중첩된 기억과 감정의 깊이를 가장 잘 표현할 수 있었다. 색채의 중첩 또한 다양한 감정을 적절히 표현하는 재료였다.
숯가루는 연구자에게 치료의 의미로서 작품의 연작이 곧 마음의 치료로 나아 갈 수 있는 힘을 주는 재료이다. 자연의 기운은 그 생명력이 연구자와 동화되어 마음을 조화롭게 만들고, 이를 통한 치유와 자유를 느끼는 생성 과정은 생명의 변화와 순환의 과정이기도 하다.
노장의 사상이 본인 작품에 영향을 주었다는 것을 이해하는 과정은 옛 문헌과 의미에 구속되기보다는 오히려 사유를 확장하게 해주었다. 연구자는 이렇게 확장된 사유 방식을 통해 작품의 변화에 대한 두려움을 없앨 수 있었고 생성, 그리고 심상의 자유 추구에 좀 더 집중할 수 있게 되었다.

This thesis is a study to understand the method of transferring the emotions overlapped in the researcher's memory to the work based on a unique Oriental philosophy. Through this process, the researcher acknowledged that her creation, as a single, lively entity, can act as a subject that communicates and conveys meaning. Based on this discovery, the researcher conducted her research by analyzing the formative expression and examining the meaning of her work.
In the East, nature is seen to be constantly alive, communicating, and changing. And change cultivates novelty. The concept that all creation bears vitality and has a process of constantly moving and changing is represented in Taoism.
Through the literature of Lao-tzu and Zhuang-tzu, the lead thinkers of Taoism, the researcher examined their philosophy and the idea of generative-centrism.
The ideology of Taoism is based on the idea that yin and yang are balanced in cycles, and these cycles sustain life as a whole. This is possible because yin and yang naturally “diversify” while communicating with each other. Lao-tzu's “nothingness” refers to being active without boundaries. This “nothingness”, in turn, can be interpreted as “emptiness”. And this silent and empty “nothingness” allows energy to naturally flow and communicate with the universe. For this reason, Lao-tzu claimed that all things in nature are in circulation as one in which “nothing” and “being”, or “falsity” and “truth” are not much different from each other. And this phenomenon of circulation is flexible in that it fits in with Lao-tzu and Zhuang-tzu's mention of “nothingness” and “void” from generative-centrism that values relationships with the outside world.
This research also points out that Zhuang-tzu sees change as crucial. Zhuang-tzu was wary of prejudices that created separation and conflict from one another because he saw all things as one. In order to be naturally united without any prejudice, it is necessary to forget oneself, known is a state of “no self”. Zhuang-tzu argued that creations born in naturalness are born with even newer vitality, known as the concept of “haeoibanbak (解衣般礴)”, or a leisurely, informal mind. Aesthetic ability and creative capacity is maximized
when the mind is in a state of freedom, which leads to artistic beauty revealing the meaning of life. This in itself is a world of creation, and this is the “Tao” that Zhuang-tzu refers to.
Zhuang-tzu, like Lao-tzu, had to abandon his own boundary, sincerity, and emphasized emptiness. He suggested “simje (心齋)” and “jwamang(坐忘)”, or practicing the act of cleansing and emptying the mind. Through this, it was said that Soyoyu (逍遙遊), or the way of living in a natural, unbound state, could be reached.
Painting in the East did not stop at simply copying landscapes and objects, but contained the painter’s philosophy and ideals.
Lao-tzu's theory of epistemology, 'Chukjehyeonram(滌除玄覽)', was recognized by aesthetic scholars as a manner of aesthetic contemplation, and had a great influence on discussing art.
The first subject of study was the concept of Jongbyeong's 'Wayyu(臥遊)', which was followed by the context of “idleness” in Zhuangzi's “Soyoyu”(逍遙遊), or the unbound state of natural living. In Jongbyeong's “Hwasansuiseo”, wayyu was to unfold the human spirit into freedom, that was, for “changshin(暢神)”, or creativity.
Innovation was possible only when one wandered in a state where one could contemplate and clear one's mind by forgetting the riches and honors of reality and finally focus on the Dao (澄懷觀道). Jongbyeong's theory on landscape paintings brought the abstract and philosophical thoughts of the time into the realm of art, allowing art to express a very subjective realm. At the same time, Jongbyeong
brought in the concept of communication in which not only the creator but also the observer was involved while seeing the artwork.
Gwak Hui further expanded this idea of ​​Jongbyeong in “Limcheon Gochi(林泉高致)”. Kwak Hee acknowledged that artwork inherently possessed vitality and emphasized on establishing a generative relationship as an open relationship communicating as a separate entity.
The development of this concept through Kwak Hui was also further expanded through Seokdo. He presented the “One Stroke” theory and put more emphasis on the inner side of the creator and valued ingenuity. Seokdo's idea of ​​'one stroke' theory emphasized the writer’s establishment of mental freedom. He expanded the scope of the meaning of ink and brush, tools for painting, linking them to “mongyang(蒙養)”, or teaching and “sanghwal(生活)”, or life. According to Seokdo, to draw a picture is to open a world beyond simple creation.
Mibul, who accepted such theories of painting, emphasized in his writing “Hwasa (畫史)”, or Painting History that landscape painting should be pure and innocent, or “pyeongdam(平淡)” and “cheonjin(天眞)”. Mibul's concept of “pyeongdam” and “cheonjin” sought to obtain an essential righteousness, rather than external appearance.
Lao-tzu's philosophy continued its development with the theory of creation, and the study of aesthetics went alongside it. And this study of painting gave important guidelines to the researcher in
dealing with her own work. In addition, the researcher acknowledged that the oriental view of nature of “pyeongdam” and “cheonjin”, which represents an infinite space for thinking and an ideal world based on Lao-tzu's philosophy, was deeply permeated into her works.
The researcher began her journey of painting with conflicting feelings of trauma and longing from her childhood. Her work was expressed as a natural response to the memories from her childhood in harmony with flow and rhythm of nature that are currently experienced. The repetitive production of artwork based on those memories neutralized negative emotions and led to new production of art.
In content analysis, the researcher's process of production and searching for the formative meaning of the past were objectively analyzed. The overlapping process of retracing memories of the past, reproducing emotions, and expressing oneself by incorporating them into the shape of a bird was also a process of understanding oneself. The more recent artwork shows the landscape imagery created by the rhythm of overlapping brush strokes in a formative way.
As the work progressed, the flow of brushstrokes led to a discharge of emotion, and a series of “Yul (rhythm)” and “Gyeol (wave)” were created. As “yul” is expressed in the researcher’s work, the patterns and rhythms created by these increasingly detailed brush strokes are visual forms that have been accumulated from the researcher’s memories and emotions. While producing these rhythmic repetition onto a canvas, the researcher was able to create a work that heals inner self blossoming into restored vitality.
The theme of these works is not based on objects or landscapes viewed from an objective perspective, but on the researcher's own experiences and emotions accumulated in the subconscious.
With every repetitive brush stroke, the researcher experienced a process of healing from her painful memories of the past. The energy and vitality of nature harmonizes and assimilates to the mind of the artist, and the process of healing and innovation begins which leads to the process of change and circulation of life.
In structural analysis, the researcher's pointillistic technique of brush strokes and the use of color were analyzed, and the researcher's particular material of choice, charcoal powder, was studied and its background examined. The pointillist technique, developed as a technique to capture emotions along with changes in the work, was the best way to express the depth of the overlapping memories of the researcher, and the overlapping of colors was also a way to capture various emotions. Charcoal powder, also used as means of medical treatment, is a material that gives the researcher the power to move on to the healing of mind.
The process of understanding Lao-tzu's philosophy and his work allowed the researcher to expand her thinking rather than being bound by old literature and meaning. Through this expanded way of thinking, the researcher was able to get rid of the fear of change and
was able to focus more on the process of creation and the pursuit of freedom of imagery.