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노장(老莊) 철학에 기반한 한국춤의 노경(老境) 미학- 철학적 사유와 예술적 표현의 융합
이화진 한국예술종합학교 한국예술연구소 2025 한국예술연구 Vol.- No.47
원로 대가들의 춤은 겉으로는 보기에 서툴고 어눌해 보일 수 있지만 억지로 꾸미지 않은 자연스러움, 덜어내고 비워내는 심오함, 그리고 기교를 넘어선 노련미가 함축되어 있다. 이러한 한국춤의 심미적 특징은 노자와 장자가 강조한 대교약졸의 개념과 소박함에 대한 철학적 사유와 깊이 맞닿아 있다. 노장사상의 관점에서 볼 때, 졸박한 아름다움은 단순한 기교의 결과가 아니라, 오랜 연륜과 경험을 통해 형성된 깊이 있는 경지에서 발현된다. 원로 대가들의 춤이 화려한 기교를 배제하면서도 깊은 감동을 주는 이유는 바로 이러한 미학적 원리와 부합되는 것으로 드러났다. This study aims to clarify the structure of jeolbakmi emphasized in the Daoist philosophies of Laozi and Zhuangzi, and examine its correspondence with the concept of noyeongmi in Korean dance. It explores the meaning of jeolbakmi, which incorporates elements of daegyoakjeol and obak from Daoist thought, in relation to the aesthetics of Korean dance. Jeol is a crucial theoretical category in Daoist philosophy that, based on gyo, expresses the highest technique in a simple and unadorned state of wu-wei(non-action) and naturalness. The beauty of jeolbakmi in art is understood not to be derived from mere technique but from noyeongmi—a beauty perfected through years of experience and training. The aesthetic thought of noyeongmi is deeply connected with the dance of Korea’s senior masters, and it is shown to be in alignment with Daoist philosophical thinking.
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한국사상(韓國思想) [철학(哲學)] : 한국 전통미 특질에 대한 제설(諸說)의 유가,도가 미학적 고찰
조민환 ( Min Hwan Jo ) 한국사상문화학회 2012 한국사상과 문화 Vol.65 No.-
What is the difference between the aesthetic beauty of the East and that of the West? How is the aesthetic beauty of Korea different from that of China and Japan? Up to the present, these have been central questions for those pursuing studies in Korean aesthetic beauty. While there have been only rare studies on Korean aesthetics, a useful place to begin for understanding how Korean art developed an aesthetic is in Korean philosophy, and related articles on Korean Buddhism, Korean Confucianism and Korean Taoism. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. Naturalism is an attribute of Korean art because of Koreans` indigenous view of nature, I. e. the view of holding communion with nature. A distinguishing characteristic of Korean art is not naturalist in the western sense of the term. The western meaning of naturalism is the science oriented term. And, if the tradition of Korean art is set against the background of a ``return to nature``. Especially Ko Yu-seup, the renowned art historian, once said Korean art was characterized by its ``lack of refinement`` and ``nonchalance``. He concluded that its lack of meticulous detail enabled it to be embraced by a wholeness larger than art and hence emanate a warm, comforting ambience. Ko`s view is a simple but eloquent description of the characteristics of traditional Korean art. Korean art as a whole is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art has been characterized by submission to the nature, and the lack of the artificial consciousness. Thus it has developed within the framework of naturalism. Naturalism as such is a vague term. To make it more precise, we must consider the Korean``s basic philosophy lies not in a man-oriented idealism but in a naturalism oriented by nature. It is evident that such peaceful and beautiful natural surroundings nurtured love of nature in the minds of Koreans.
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