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A Study on the boundary of art in Chusa’s Poems on drawing

kim yun ju 1

1성균관대학교

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ABSTRACT

Chusa’s poems on drawing appear in postscripts. Although the main contents are comments on the drawing, the contents include Chusa’s theory of drawing. Chusa’s poems on drawing indicate ‘格物致知 學畵觀’, ‘書畵一致 批評觀’, and ‘不一不異 藝術觀’ in the point of view of arts. In the point of view of 格物致知 學畵觀, the method of drawing study is 格物致知 itself and this character is appeared in his poems on drawing. Chusa demonstrated that 蘭畵 is one of small 技藝, however studying hard is not different from the study of 聖門 格物致知. Futhermore, he said 格物致知 to explain the connection between drawing and studying. Chusa found out aesthetics of 格物致知 in Han dynasty 碑石. Therefore, he said that nobody can become Buddha suddenly and catch the dragon with bare hands. He thought that it is only possible when he has lots of exercises. The systematic study and efforts are the most important things for him. In the point of view of 書畵一致 批評觀, drawings and writings are not different. It means that writing well is drawing well and these two things which are the same. In the point of view of the 不一不異 藝術觀, we can find that Chusa’s thought of drawing was influenced by Zen of Buddhism. Therefore He thought that perfect enlightenment transcends the limits of language and letters. For him, Zen is same with arts, because they are based on intuition.

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