한국미의 고유성 규명을 위한 비교미학적 고찰

이주영 ( Joo Young Lee ) 한국미학예술학회 2014 미학예술학연구 Vol.41 No.-

This research derived the peculiarities of Korean beauty by comparing the significant components of Korean aesthetics with those of Western aesthetics. In doing so, I tried to emphasize the standpoint to the nature, to the world and aesthetic consciousness of Korea. This aim required the establishment of a new set of Korean aesthetic categories. The representative aesthetic categories of Western aesthetics are Beauty, Tragic, Comic, Sublimity, Grace, Ugliness, and Characteristics. The Korean aesthetic categories Han and Humor are similar to Tragic and Comic, but the following Korean categories have no Western counterpart: Mut, Indifference, Deviation, Shinmung, Pungryu, and Shikim. The categories of Korean aesthetics circulate in both the vertical direction and the horizontal direction. Together they form a three-dimensional spherical system. In contrast, the circular categorical system of Dessoir forms a two-dimensional plane in which certain categories oppose each other. In his categorical system, the central point between opposing characteristics accentuates humanity, whereas the basis of the Korean aesthetic categories is nature. The central categories of Korean beauty exist and move in the microcosmos of the human emotional world. The microcosmos is divided into vertical and horizontal circular categories. Each of these circles is then divided into bright and dark aspects of emotion. The latter moves toward the bright aspect from the dark aspect, embracing nature as a vital power. Han, Humor, Heung, Shinmung, and Shikim are the vertical categories. Pungryu, Mut, Deviation, Archaic, and Indifference are horizontal circular categories. The vertical categories appear often in art that is based on tempo, stimulating human nature by moving emotion by the passage of time. The horizontal circular categories mainly in the formative arts, holding the floating life force of nature, are expressed by tranquil emotion. The formative arts have to embody every motive in space and the stopping moment, so they express the state of nature itself, in which extreme emotions are neutralized, and conflict and contradiction are reconciled. So in the formative arts, the contemplative sense of beauty is dominant, based on naturalness. The vertical circular categories are characterized by the emotion that arises in the relationship between individuals and society. The aesthetic characteristics of the horizontal circular categories are nearer to nature. No individual category can be divided clearly into a specific categorical domain, by reason of floating in a system of totality, but they distinctly reflect the character of their main position. To conclude, the peculiarity of Korean beauty appears as a complex aesthetic consciousness through the mutual interchange of categories. Therefore, the aesthetic consciousness deeply reflects the totality of life. In this way, the aesthetic categories circulate and melt the individual emotions into totality. Sadness and pleasure, worldliness and the divine, daily life and transcendence, beauty and ugliness; they all alternate each other together, and deepen the aesthetic dimension to reveal beauty as a whole. This unified aesthetic consciousness is circular and moving, not enclosed in a fixed system.

북한미학의 미적범주론

홍지석(Hong, Ji Suk),전영선(Jeon, Young Sun) 건국대학교 인문학연구원 2014 통일인문학 Vol.57 No.-

이 글에서는 북한미학의 미적범주론을 고찰하고 이를 토대로 북한미학과 북한문예의 상관성을 관찰한다. 북한미학(또는 이른바 주체미학)이 내세우는 미적범주론의 특성은 대략 다음과 같이 세 가지로 요약할 수 있다. 첫째, 북한미학은 미적범주를 “사람의 자주적 요구와 지향”이라는 기준과의 일치 여부에 따라 긍정범주(아름다운 것, 숭고한 것, 영웅적인 것, 비극적인 것)와 부정범주(추한 것, 저속한 것, 희극적인 것)로 나눈다. 다음으로 긍정범주는 “사람들의 자주적 요구를 어느 정도 반영하고 있으며 또 그 요구의 어느 측면을 주로 반영하고 있는가”에 따라 아름다운 것, 숭고한 것, 영웅적인 것으로 구분된다고 주장한다. 특히 ‘행동성’을 특징으로 하는 영웅적인 것을 독자적인 미적범주로 다루고 있는 것이 북한미학의 큰 특징이다. 이러한 미적범주론은 소비에트 미학의 가치론적 관점을 자기 나름의 방식으로 수용, 변화시킨 것이다. 둘째, 북한미학의 미적범주론은 생리적, 감각적인 것들이 대부분 배제된 의식적-사상미학적 수준에서 구성된다. 즉 감각적 快, 공포, 생리적 죽음, 생리적 웃음은 간과되거나 무시되고 대신 사상의식발전에 기여하는 것, 착취 계급에 대한 분노, 낡고 반동적인 것에 대한 조소 같은 것들이 미적범주론의 핵심을 구성한다. 그런 의미에서 북한미학의 미적범주론은 감각보다는 이데올로기-도덕(윤리)를 내세우는 엄숙하고 금욕적인 성격이 매우 강하다고 할 수 있다. 셋째, 둘째와 같은 이유에서 북한의 문예에는 감각에 직접 호소하는 예술 장르나 형식이 발전될 수 없다. 예를 들어 감각적인 묘사에 치중하는 詩, 공포영화, 슬랩스틱처럼 웃음자체를 겨냥하는 희극을 북한에서는 거의 찾아 볼 수 없다. 대신 애국심에 호소하는 진지한 비극, 풍자극, 경희극 같은 것들이 북한문예의 주류를 이룰 것이다. 이것은 미적담론이 체제의 이데올로기적 요구에 따라 형식/장르의 구성/배치에 관여한 매우 독특한 사례다. This paper studied aesthetic categories of North Korean aesthetics and observed interrelationship between North Korean aesthetics and North Korean literature based on the study. North Korean aesthetics (or so-called “Ju-che” aesthetics) can be summarized in three features. Firstly, North Korean aesthetics classify aesthetic categories into positive category (beautiful, sublime, heroic, and tragic) and negative category (hideous, vulgar, and comic) by the criteria of independent demand and aim of human being. Positive category can be subdivided into beautiful, sublime, and heroic by considering how many independent-demands of human beings and what aspects of the demands are reflected. Especially North Korean aesthetics consider heroic with action as independent aesthetic category. Such categorization is acceptation and alteration of Soviet aesthetics’ axiological perspective in North Korea’s own way. Secondly, conscious-ideological aesthetic level, which excludes most of sensual parts, composes aesthetic categories of North Korean aesthetics. The core of aesthetic categories are composed with one contributes the development of ideology, wrath towards exploiting class, and derision to old and unprogressive things; sensual resentment, fear, or physiological death/laughter is rather passed over or ignored. In that sense, it might be said that aesthetic categories of North Korean aesthetics are strongly solemn and abstinent based on ideology-ethic rather than sensual approach. Thirdly, therefore, sensual genre or form of art cannot be developed in North Korean literature. Poetry focused on sensual description, horror movie, or slapstick comedy for laughter itself does not exist in North Korea, for instance. The mainstreams of North Korean literature are serious tragedy appeal for patriotism, satirical drama, or light comedy. This is very unique case that aesthetic categories participate in composition/arrangement of formation/genre in accordance with system’s ideological demands.

심포지엄 한국미의 심층 구조 : 한국 전통미학사상의 구조

민주식 ( Min Ju Sig ) 한국미학예술학회 2003 미학예술학연구 Vol.17 No.-

Is there Korean aesthetics, indeed? If there is, in what sense does it exist? And what is its content? We have not considered seriously on these questions. We could raise the similar question as following: What makes arts to become worthy of Korean art? It is not easy to explain the basis which makes any work of art as Korean art. If it is Korean art, it is obvious that the style should have a continuity with the Korean artistic tradition historically, and that the maker should be conscious of this continuity above a certain level in his process of production. Aesthetic thought is the manifestation of human spirit, and the history of aesthetics develops connecting with the politics, society, culture and religion which shapes the world view of each period. Korean traditional thoughts are basically Shamanism, Buddhism, Confucianism and Taoism. Accordingly, the contents of Korean traditional aesthetics are divided into Shamanistic, Buddhistic, Confucianistic and Taoistic aesthetics. Nobody doubt on the value and vitality of Korean aesthetics. But it is not suitable to insist that we should find necessarily the uniqueness and exclusiveness of Korean elements. Such insistence comes near bring into being the narrow-minded nationalism and distorts our view of world. It is important for us to understand and evaluate the aesthetic achievements of our ancestor in the historical context. Moreover, we should recognize and elucidate that our aesthetic tradition is closely connected with the generality and universality of aesthetics. Korean aesthetics is necessarily defined and influenced by its cultural context, so we should inspire the vividness into it by aiming at the higher universal validity. We could indicate a few of traits of Korean traditional aesthetics as follows. Firstly, it lays stress on the inner beauty of mind rather than sensual beauty of appearance. Secondly, Korean aesthetic consciousness tend toward the beauty of simplicity, plainness and lightness, different from gorgeousness, magnificence and extravagance. Thirdly, the value of beauty and art is considered as its practical role for the contribution in human life, not for self-satisfaction of the artist or appreciator.

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.

한국미학의 어젠다(agenda)에 관한 고찰

임성원(Lim Sung-won) 민족미학회 2015 민족미학 Vol.14 No.1

이 논문의 목적은 한국미학의 어젠다를 통해 한국미학의 쟁점이 무엇인지 고찰하는 데 있다. 한국미학의 어젠다는 시대순에 따라 국문학계의 `멋`, 한국미래 학회의 `멋과 한국인의 삶`, 《교수신문》의 `우리 시대의 미를 논한다`, 《교수신문》의 `한국미론을 재검토한다`, 한국미학회 학회지, 한국미학예술학회 학회지, 한국민족미학회 학회지를 선정해 차례로 분석했다. 연구 결과 다음과 같은 결론을 얻었다. 첫째는 한국미학의 어젠다가 한국적 미의식과 한국미에 집중되어 있다는 점이다. 둘째는 어젠다가 다양한 영역에서 분출되었는데, 이는 `미적 삶의 문제`를 연구하는 미학이 가진 대중성과 간학문적·통섭적 학문 성향을 뒷받침한다 하겠다. 셋째는 미학의 매스 커뮤니케이션 친화적인 경향이 확인되었다는 점이다. 넷째는 미학 학회 어젠다의 경우 서구 중심의 미학 교육과 학회 활동으로 한국미학과 관련한 논문의 비중이 크게 낮았다는 점이다. 끝으로 현실적인 삶에 기반을 둔 로컬미학을 통해 한국미학의 실천적인 전개양상을 풍부하게 함으로써 한국미학의 전망을 더욱 밝게 할 수 있다는 숙제를 남기고 있다는 점이다. 부산미학 광주미학 제주미학 등의 로컬미학이 자리를 잡을 때 그 총화로서 한국미학 혹은 민족미학이 제 모습을 드러낼 것으로 기대되기 때문이다. The purpose of this paper is to review what the issues of Korean aesthetics through the research of agenda of Korean aesthetics. The Korean aesthetic agenda was selected from the following publications: Korea literary publications dealing with "Mut" , "Mut and the life of Korean" of "The Korean Society of Future Studies" , "Argues the beauty of our era" of `Professor newspaper` , "Reread the beauty of Korea" of `Professor newspaper`, "Mihak-The Journal of Aesthetics", "The Journal of Aesthetics and Science of Art", "MinjokMihak-The Journal of Aesthetics". The results were as follows. First, the agenda of Korean aesthetics is focused on the Korean aesthetic and the Korean beauty. Second, the agenda was shown in a variety of areas, which will be supporting the popularity with aesthetics to study the `the issue of aesthetic life` and the inter-disciplinary nature of aesthetics. Third, it is confirmed that aesthetics has a mass communication-friendly trend. Fourth, in case of the agenda of Aesthetics Society, the proportion of papers relating to Korean aesthetics is significantly lower than the activities of the Western Aesthetics. The suggestion of this study is as follows. When the local aesthetics is to be built which background is the life of locality such as Busan, Gwangju, Jeju, it is expected to reveal its first appearance as the sum of Korean aesthetics or Minjok Mihak.

우현(又玄)과 이경(怡耕)의 한국미(韓國美) 인식

신응철(Shin, Eung-Chol) 숭실대학교 한국문학과예술연구소 2016 한국문학과 예술 Vol.18 No.-

한국미에 대한 인식을 서양인의 눈이 아닌 동양인의 눈, 더 구체적으로, 우리 한국인의 시각에서 담아내려고 시도한 최초의 인물은 바로 우현(又玄) 고유섭(高裕燮1905-1944)이다. 고유섭은 ‘무기교의 기교’, ‘무계획의 계획’, ‘구수한 큰 맛’ 등의 수식어를 통해 한국미를 비로소 체계적으로 담아내는데 성공하였다. 우리는 고유섭의 그와 같은 미(美) 인식을 한마디로 〈질박(質朴)의 미학〉이라 이름 붙인다. 한국미에 대한 고유한 인식을 고유섭의 질박의 미학에서 그 시발점을 찾을 수 있다면, 최근 들어 한국 예술철학계 및 미학계에서는 그 종착점으로 이경(怡耕) 조요한(趙要翰1926-2002)의 이름을 한결같이 언급하고 있다. 조요한의 한국미의 인식을 간명하게 말하자면 〈고졸(古拙)의 미학)〉이라 부를 수 있다. 이런 그의 미 인식의 방식은 물론 고유섭의 생각을 터 삼아 진척된 것이라 할 수 있다. 필자는 본 논문에서 한국미를 주체적으로 인식하고자 한 고유섭의 논의를 확인해 보고, 이를 토대로 고유섭의 한국미 인식의 방식이 어떤 방식으로 한국 미학사에 영향을 미치게 되었는지를 규명하고자 한다. 그리고 이 부분에서 조요한의 美 인식의 특징을 고유섭의 그것과 상호 비교함으로써 한국미 인식의 계보를 확인하고자 한다. 끝으로 고유섭과 조요한이 한국 미학사에 기여한 바를 근대미술의 담론이라는 관점, 우리 미학의 정체성의 관점, 미적 가치의 관점에서 논의하면서 마무리하고자 한다. The first man who was grasped a concept of the Korean Beauty not western viewpoint but oriental viewpoint in discourse of the korean aesthetic is Woohyun(又玄) Ko Yu-Seup(1905-1944). He described the Korean Beauty as an untechnical technic, unplanned plan, and excellent savory taste. We called his concepts as an Aesthetic of Simplicity. On the other hand, the last man who was creatively grasped a concept of the Korean Beauty is Yikyung(怡耕) Zo Yo-Han(1926-2002). He described the Korean Beauty as a beauty of folk arts, beauty of simplicity, and things of shamanism. We called his concepts as an Aesthetic of Naivety. In this context, we will deal with Ko Yu-Seup and Zo Yo-Han’s viewpoint about the Korean Beauty and compare with the way of perception about the Korean Beauty among them. And we will elucidate status of them in terms of identity of korean aesthetic, aesthetic value, and history of korean aesthetic.

연구 논문 : 조요한 예술철학 연구 시론

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2010 미학예술학연구 Vol.32 No.-

Throughout life of Yohan Zoh (1926-2002), the philosopher had released several books and essays like Philosophy of Art (1973), The Philosophy of Aristotle (1988), an Articulation of Love for Art (1993), An Articulation of Love for Philosophy (1993) and An Exploration of Korean Aesthetic Beauty (1999). By spending his period of growth in the era of the Japanese colonization and experiencing the Korean War soon after, the philosophy of Søren Kierkegaard and Karl Jaspers captured his attention, and led him to the field of existentialist theory inevitably. As a consequence, he submitted a dissertation, Kierkegaard and Existence (1954) for his BA, which denotes his future interest of Greek philosophy and Christianity toward the Eternal. Since then, Zoh submitted The Influence of Eastern Thought on Early Greek Philosophy (1958) for his master`s degree and The Analytical Problem of Aristotelian Philosophy (1975) for his doctorate. Both study reveals how he the deepened philosophical relationship of his early interest by exploring its contraposition and correlation. Despite of his philosophical subject matter in academic dissertations that he submitted, his first publication was in fact Philosophy of Art, and the last publication released three years before his death was An Exploration of Korean Aesthetic Beauty. In this respect, philosophy of art is bibliographically as important as his accomplishment in Greek philosophy or Christianity. Therefore, this preliminary study is to give a light on Zoh`s achievement in art before the fully fledged research take a place. Philosophy of Art is Consist of three chapters. The first chapter, ``The Basic Concept of Philosophy of Art``, is based on his given aesthetics talks between the 60`s and the early 70`s. Although the most of up to date art theories and text were yet not introduced in Korean academic field since the early death of Yu-seob Ko, the chapter is strongly anchored to the use of traditional terms of aesthetics and fine arts of time. The second and the third chapter are entitled as ``The Task of Modern Art`` and ``Some Problem with Art Theories` respectively. Each chapter is written on the basis of his several texts on art, that were also produced during the same period above. On the contrast to the first, these two chapters are philosophical analyses of the Korean art praxis. His last book, An Exploration of Korean Aesthetic Beauty, thus can be seen as a conclusive answer for one of the text that is included in Philosophy of Art, ``The Character of Korean Aesthetic Value.`` As a philosopher, Zoh picked up the thread that was left out for many years, and dedicated his entire life to elucidate the spirit of Korean art. He methodologically chose comparative science of arts for his investigation, giving examples of contrasting nature between the eastern and the western aesthetic, as well as comparing Korean aesthetic value with the art of neighbor countries like China and Japan in sequence. His academic path clearly shows that his love of art and philosophy are conflated in An Exploration of Korean Aesthetic Beauty.

식민지 시기 예술 개념 수용과 문학장의 변동; 1920년대 초 동인지 문인들의 예술론에 나타난 예술과 자아의 관계 -예술의 미적 절대성의 획득과 상실의 과정-

박슬기 ( Seul Ki Park ) 한림과학원 2013 개념과 소통 Vol.- No.12

This paper questions the received wisdom that the aesthetic theories of early modern Korean writers, published in literary or artistic special interest magazines from the 1920s, constitute the origin of the modern conception of aesthetic subjectivity in Korean literary history. It also doubts whether these writers focused their theoretic endeavors upon characterizing the absolute self, which is considered to derive from the idea of aesthetic autonomy. This widely accepted argument is unconvincing in that the exact correspondence between the absolute self and aesthetic autonomy ironically entails the annihilation of the self in its defense of the universality of aesthetic beauty. Thus, it is hard to argue that modern art originates from the modern conception of the individual, defined as the subject who confesses and expresses that which arises in his or her interiority, while simultaneously maintaining that aesthetic autonomy is produced in the annihilation of aesthetic subjectivity. Through a re-evaluation of the aesthetic theories developed in the coterie magazines from 1920s Korea, the twofold process of producing and then losing aesthetic absoluteness is shown to correspond to the birth of two modern conceptions of the self: absolute selfhood and the modern subject of thought.

왜, 다시 산수시조인가?

김창원(Kim Chang-Won) 한국시조학회 2009 시조학논총 Vol.31 No.-

What is Korean landscape verses to us today? What kind of conversation are we trying to make with other human beings in different or same periods through Korean landscape verses? Or, is there a related critical mind in Korean landscape verses? If so, what is that? Korean landscape verses are verses singing harmonious life of human beings with nature. It can be considered as a realization of a small economy. Korean landscape verses of Joseon Dynasty period are the products of forest economy and garden economy. In a wider view, Korean landscape verses are the outcome of architectural culture and residential culture. Therefore, we need to look at Korean landscape verses in a large frame of plantation culture or architectural culture and residential culture. 'The aesthetics of smallness' lies in the basis of Joseon plantation. In other words, 'small things are beautiful.' is the basic concept of the plantation. We are living in a world dreaming of innovations of small things. In the academic world of history, the history of micros is trying to find enlarged relations or essential structures from small things or day's happenings. Nano technology, trying to change macro world with micro world, is the core technology is used in various fields of our lives including information technology, biotechnology and environmental energy technology. The micro history and the nano science is trying to find a world from one grain of sand or to see an ocean from one waterdrop, Then, wouldn't it be possible that the aesthetics of I small things are beautiful. I seen in Korean landscape verses can lead us to open discussions between different educational systems without being limited to poetic interests? We expect the aesthetic principle of r small things are beautiful' to create new literary discussions as a medium for trying the communications between different educational systems of engineering and philosophy and art and literature. The architecture may open the possibility of being understood literally by being incorporated in philosophy with a medium of aesthetics, and philosophy will widen the communication with engineering or earth science with a medium of aesthetics. Literature and art will find a way to make themselves alive knowledge by communicating with architecture with a medium of aesthetics.

방한 중국인의 뷰티관광에 관한 탐색적 연구

양삼 ( Shan Yang ),최기탁 ( Kee Tag Choi ) 한국항공경영학회 2014 한국항공경영학회지 Vol.12 No.1

Recently, as the impact of new Hallyu fashion and the concern for Korean culture, more Chinese are coming to the South Korea to take plastic surgeries, skin care and cosmetic surgeries. Although research issues about Chinese beauty tourism are raised but their research is still at the elementary level. This study focuses on identifying what factors Chinese female tourists consider and what are the differences among visitors for plastic surgeries, SPA, or aesthetic. The aim of this study is to suggest its implications to exploit Korean beauty items and the beauty tourism industry for Chinese. For this research, questionnaires were distributed to 300 Chinese female tourists who had experienced beauty tourism in Korea (293 valid responses). The results of this study are as follows. Firstly, More rich Chinese tourists, business women at their 20s, are coming to Korea for beauty tourism. Secondly, most Chinese female tourists considered “quality and service” and “facilities and atmosphere” were the most important factors for beauty tourism. Thirdly, in the aspect of the plastic surgery tourism, the factor “stability and professional of the program” was considered most important. Fourthly, Chinese spa tourists evaluated the factor “outstanding technology” and “the excellence of therapy effect” as key factors. Finally, Chinese tourists for aesthetic tourism, the factor “outstanding technology” was considered as most critical.