2020, Vol.61, No.

The Journal of Aesthetics and Science of Art 2023 KCI Impact Factor : 0.81

pISSN : 1229-0246
https://journal.kci.go.kr/ksasa

The aim of this thesis is to study the meaning and transformation of the Hwanghan landscape established in China's Late Ming Dynasty and Early Qing Dynasty, and accepted by Jeonghui Kim in the late Chosun Dynasty, by taking on the meaning of Yi Pin, transcendence of the world, Shi Qi, Yi Pin, and Ni Zan painting style. Ni Zan's landscape accepted by Kim Jeonghui refers to the Hwanghan landscape of Yi Pin that were established as an aesthetic concept in the late Ming and early Qing dynasties. It appeared with two different meanings. One is the place of exile that Kim Jeonghui and Cho Huiryong were related to. The other has to do with returning home like Heo Ryeon. The former contained a negative aspect in that reality and the ideal were opposed in exile, while the latter, in harmony with reality and ideals, was expressed with a calm and stable scenery and writing method.

This paper focuses on how visual elements such as traditional materials and images are reinterpreted in a contemporary way, not abstract concepts such as traditional spirit or ideologies. The painters use partial images in traditional culture as a subject for expressing their narrative. These images were removed from their original context and newly combined. In addition, they use not only the subject matter, but also the composition of a picture used in traditional painting. By substituting contemporary elements in these compositions, they naturally mix modern and traditional. Finally, various traditional coloring techniques are used to convey modern messages depending on the type of pigment or base material, such as paper or silk. Following any technique does not connect the vein of tradition. Rather, traditional techniques serve as an important means of conveying a message. This contemporary transformation of tradition is mainly the result of a mixture of various elements such as Korean culture, current society, and fine art. In this regard, contemporary Korean color paintings are meaningful in that they can show the value of Korean culture in the present society, rather than reviving tradition.

This study researches the concept of life in Hegel’s writings considering the cognitive function of art that he emphasized in relation to life. Hegel defined life as love, object of self-conscious desire, pure idea, other-idea, and idea of beauty. Among these, the most important meaning of life for Hegel was living things, especially the idea of spiritual life, which is constantly dividing and uniting at same time. In fact, the idea of spiritual life is within living things. According to Hegel, the idea can be true only when it is embodied and must appear to us. He thought this idea can be given shape through the beauty of art and recognized by intuitive artistic consciousness. Therefore, the significance of this research lies in newly contemplating Hegel’s definition of art and beauty of art from the perspective of life and reexamining the cognitive function of art, which enables us to intuit the meaning and structure of life in the present day.