• 동양고전연구
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• 제35호
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• pp.101-133
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• 2009

청초(淸初)의 시인(詩人), 시론가(詩論家)로서 청(淸) 사대(四大) 시학(詩學) 중 하나인 신운설(神韻說)의 창도자(唱導者)로 알려진 왕사정(王士禎)은 50년 넘게 청초(淸初) 시단(詩壇)의 영수(領袖)로 활약한 인물이다. 그는 통시적(統時的)으로는 종영(鍾嶸)의 "시품(詩品)", 엄우(嚴羽)의 "시화(詩話)", 서정경(徐禎卿) 의 "담예록(談藝錄)" 등 위진(魏晉)부터 명(明)에 이르는 주요 시학(詩學)들의 성과를 통합하고 공시적(共時的)으로는 청원(淸遠)/호건(豪健), 종당(宗唐)/종송(宗宋), 완약(婉約)/호방(豪放), 북송사(北宋詞)/남송사(南宋詞)와 같은 당대(當代) 문단(文壇)의 쟁점들을 통합함으로써 자신의 통합적 시학(詩學)을 완성하였다. 이 과정에서 그의 변함없는 목표는 역시 특정한 가치에 함몰되지 않고 절대적이며 객관적인 기준 위에서 문학 본연의 가치를 구현하는 것이었다. 그 기준과 가치의 제공은 역시 신운설(神韻說)이 그 원천이 되었고 구체적으로는 '불저일자(不著一字), 진득풍류(盡得風流)', 미외지미(味外之味), 흥회(興會), 자연(自然), 아정(雅正) 등이 각각 역할을 담당했다. 또한 그의 신운설(神韻說)은 몇 가지 시품(詩品)만을 편파적으로 추켜세우는 대신, 각 시품(詩品)이 적절하고 완벽한 경지에 이르면 보편적으로 얻는 본연(本然)의 정신적 특성으로 '신운(神韻)'을 귀결지음으로써 객관적, 보편적 차원에서 그 통합성을 강화하였다. 아울러 신운설(神韻說)은 그의 시론(詩論)과 사론(詞論)을 통합하는 작용도 했다. 왕사정(王士禎)이 미학 이론으로서의 신운설(神韻說)을 성립, 발전시키는 과정에서 그의 시론(詩論)과 사론(詞論)이 상호독립적으로 윤곽을 갖추는 동시에 상호영향을 주고받았으며, 나아가 거꾸로 양자(兩者)가 신운설(神韻說)을 심화시킨 것이다. 이상과 같이 성립된 왕사정(王士禎)의 통합적 시학(詩學)은 시(詩)와 사(詞)에 대한 실제 비평에서도 특정 작가나 조대(朝代), 유파(流派)에 대한 편견에 빠지지 않고 각각의 장점을 보고 취사선택하는 객관적 감식안을 발휘하였다. 이로써 왕사정(王士禎)의 통합적 시학(詩學)은 거의 반 세기 동안 청초(淸初) 문단(文壇)을 주도하고 청(淸) 사대시학(四大詩學)의 선성(先聲)이 될 수 있었다.

• 복식
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• 제24권
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.