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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
민족미학회 민족미학 민족미학 제6집
발행연도
2007.12
수록면
137 - 161 (25page)

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초록· 키워드

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Among the eight basic concepts Shinmyong would be the basis of motivation, cause, and drive factor rather than aesthetic category or beauty type. Shinmyong can be associated with creative and productive aura in the ordinary lives. It can be the first dimension to experience the first-time creativity as the flow of generative energy in aesthetics. It is similar to a pregnant mother who will deliver a baby. Also it can be said as unique experience format through the process of insight or imagination in the viewpoints of audience or receivers as well as the creative process. Shinmyong should be defined as the experience of creation or appreciation concept. The first project to discuss Shinmyong would be where it could be positioned in the flow of modern aesthetics. The concepts discussed in Western aesthetics are empathy, insight, inspiration, imagination, emotion, and passion, From Oriental aesthetics, especially Chinese viewpoint, they could be Heong(興), Heongchi(興趣), Shingi(神氣), Jeonggi(精氣), Chimyoung(聰明)/Jonshin(傳神), Shinyoung(神境), Soyoh(逍遙). There are "Heonggyoum" or "Shinbaram" in the ordinary Gomuhjinshin(鼓舞盡神) expresses the physical expression of ecstacy.
There are "Shinnago", "Shindulgo", "Shinorgo", "Shinnaerigo" and "Shinjipinda" in Korean ordinary words. It is said to be the flow of energy, tropes, and the dynamics or vector of winds in every direction; front and back, right and left, up and down, and in and out. It is the encounter of internal or external energy in the bio action, crossed and united relationship of energy, coming toward or down in the body. It is harmony with the core concepts of "Giwhashilryung" in Donghak. That"s a shivering swing or correspondence between subject and object in the emotional waves.
Soowun, Choi Jaeoo interprets the letter of si(侍) as inside Shilryung, outside the actions of Giwha, so every person does not move from the origin in the "essay on study"
In Shilrung"s becoming Giwha we feel Shinmyong. Sir Kim Ilboo"s Jeongyuk(正易) suggested the respiration sound, "Eumaeoiou" as the basis of the persistent meditation, in which we can experience the action of Shinmyong generating and exploding energy through the newly experienced world. Furthermore a Korean Buddhist priest Wonhyo danced Mooaegamu, which is not different from the realization of Shinmyong as a practical experience like the thought of Jinsokilryo, Ilshim(一心), Hwhajaeng(和諍), and Wonyung(圓融). If Shinmyong is discussed among the network of aesthetics more systematically, Heong in the theory of poetry. caliography. painting and Shingi(神氣) in Hwaron could be contrast against Shinmyong of the flowing genre, Akgamoo. The discussion of Shinmyong will be raised up that of Heong or Shingi like mating.
The exploding process of Shinmyong in the flowing of Akgamu in Korean culture is in the immenent process of Salpuri. "Sal" in Salpuri identifies the subject to kill at first, and does battle with kind of killing. Salpuri begins with the identification of killing. Cheoyong fends off the devils with dancing after discovering the scene. The media of dancing with a song becomes the means overcoming the real world. Shinmyong takes place in the Salpuri steps. The dynamic overwhelming Shinmyong fends off devils with dancing, getting to the highest point of Salpuri. In spite of sal in group unit, collective Shinmyong, and live Shinmyong, there will be Sal in personal unit and interal Shinmyong. The more diverse lifestyles are, the more directions of Shinmyong becomes.
Shade and Geongchi would be transcendental ecstasy or the experience to contact God, which has been rooted in Central Asia and Eastern Asia. Things inside communicate with things outside, being the transcendence of reality. Mask dance is embodied in the real world, Shinmyong of all the fleshes. Since only somebody cannot praise Hanulnim, the concept that man is just heaven can be explained through Shinmyong. Whoever feels Hanulnim will explode creative energy by himself. If we get ride of some walls to stop Shinmyong, Shinmyong can be overflowed to anyone in every place.; to cure all through Shinmyong, to make friends through battle, and to be Shinmyong through Salpuri, and the pleasure under sorrow. In that way it is possible to suggest the relationship of Hahn and Shinmyong, which can be the brightness in shade, or the meaning of white Shade in the categorical theory of Korean aesthetics.

목차

Ⅰ. 글머리에
Ⅱ. 신명의 정의들
Ⅲ. 신명의 개념적 층위
Ⅳ. 전통춤과 신명의 여러 갈래들
Ⅴ. 신명의 내재적 속성
Ⅵ. 신명이 드러나는 틀로서의 극적생성적 시공간
Ⅶ. 신명의 연행현장론
Ⅷ. 탈춤의 등장인물을 통해보는 한국적 신명론; 미얄의 죽음과 소매의 유랑
Ⅸ. 비장과 골계, 한과 신명의 미적 범주론 재론
Abstract

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