王維畵 硏究 : 禪家精神을 中心으로 = A study of Wang Weis Painting : Based on the spirits of "Sun"
저자
李壽子 (원광대학교 대학원)
발행기관
학술지명
권호사항
발행연도
1982
작성언어
-KDC
041
자료형태
학술저널
수록면
273-297(25쪽)
제공처
소장기관
One of many famous painters in the history of Chinese painting, Wang Wei takes a special position in the evaluation of Chinese painting. His art is not limited only to one field, but fused with other fields of art, such as poetry, caligraphy, music and painting. This artistic quality of his So we can say that painting funotioned as the medium of his thought of art attained on the basis of the ossence of human experience.
Wang Wei pioneered the technique of water color permeation and applied it to painting for the first time. Therefore, it is clear that he was recognized as the father of the landscape painting of Southern-religion trend by the next generation. but during the Dang Dyhasty in which he lived, he was better known as a pastoral poet of nature. He was little known as a great painter than in his own lifetime.
The technique criterion to the technique-oriented evaluation of painting. in the Pre-Dang Dynasty failed to recognize the gusto of Wang Weis sense oriented painting But in the course of time the gusto of his sense-oriented painting was gradnally developed, and at thesame time his art of spritual dimension has risen to a re-eva Iuation.
In other words, Wang Wei's painting has undergone a striking chang in the evaluation of his own age and of the following time. Wang Wei whose painting was neglected in his own age has now been looked up to as the exponent of the landscape painting of Southern-religion trend, as the criterion to the gusto of the painting created by painters of the "Sun" spirit of Southern-religion has begun to be fused with the quintessence of the "Sun" spirit innate in Wang Wei's painting in the course of change in Chinese painting history.
Many of his poems were written in Buddhistic diction, and his poetic motif is largely about the Buddha's Temples and monks. In this respect, we can realize how much he was steeped in the Buddhastic Scripture and the doctrine of Buddhistic-religion, He often cites in his poems words used by Doyunmyung, Siyering win and Pawzaw, This is to say that he had read many books and seen much of life.
Converting to Buddhism, Wang Wei transcended reality, but he did not disregard the real world. He indulged in the naturalism of hermitism, and observed the discipline of Buddhistic life rigorously. He served as an official in charge of music within the government and rose to the rank of premiership. His body was in officialdom, while his spirit was somewhere beyond reality. In away, he was an idealis t who did not. leave reality.
He had retreated into obscurity for thrity-add years since he retined from the official post. He took his way of lonely life and ignored the sensual pleasure of life. He had devoted his whole life only to exercising the true spirit of Buddhism, So we can say that Wang Wei tried to satisfy his inner life through the creation of the ideal worId of his painting based on the "Sun" spirit of Buddhism. Rooted deeply in Wang Wei's thought of art we have considered in the above, his painting marked the rriilestone of the future for the immortal landscape painting of Southern religion trend.
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