CAJ | 학술논문

抽象和移情都不是以主客体分离而是以主客体融合为其本质的，因此，抽象和移情的对立并不意味着彼此仅仅相反，而是意味着二者是相反相成的，也就是说，种种艺术创作活动，大多或是偏重于移情，或是偏重于抽象，但只有移情没有抽象或只有抽象没有移情的情况是不存在的。无情感固然无艺术，然而对艺术最为重要的是能唤起艺术情感的艺术结构，换言之，结构既是情感的起点，更是情感的归宿。我们之所谓构形是从移情到抽象的美感性运动，就是在这样的意义上说的。总之，艺术创作是相对于一定对象“深入其理，曲尽其态”的过程，就是艺术创作者依凭其心灵构形的过程，也就是从移情到抽象的关感性运动过程。
추상화이정도불시이주객체분리이시이주객체융합위기본질적，인차，추상화이정적대립병불의미착피차부부상반，이시의미착이자시상반상성적，야취시설，충충예술창작활동，대다혹시편중우이정，혹시편중우추상，단지유이정몰유추상혹지유추상몰유이정적정황시불존재적。무정감고연무예술，연이대예술최위중요적시능환기예술정감적예술결구，환언지，결구기시정감적기점，경시정감적귀숙。아문지소위구형시종이정도추상적미감성운동，취시재저양적의의상설적。총지，예술창작시상대우일정대상“심입기리，곡진기태”적과정，취시예술창작자의빙기심령구형적과정，야취시종이정도추상적관감성운동과정。
The essence of empathy and abstraction is not the separation between the subject and the object but the fusion of them. Therefore, the opposition of empathy and abstraction does not simply mean that they are opposed to each other, but that the two are op- posite yet complementary. In other words, all sorts of artistic creation, mostly stresses empathy or abstraction, and the ease with empa- thy but abstraction or with abstraction but empathy does not exist. The art lives with emotion, but what is the most important is the ar- tistic structure which can arouse the artistic emotion, in other words, the structure is not only the beginning but also the end - result of emotion. The so -called configuration from empathy to esthetic movement gets its meaning in this aspect. In brief, compared with the process of certain object ＂depth in reason, width in form＂, the artistic creation is an esthetic movement from empathy to abstraction and also a process of the artistic creator relying on its mind configuration.