CAJ | 학술논문

中国传统文人画以浑然整全的境界为最高审美理想，这不是形式上的浑然不分，它由中国传统哲学中的浑朴思想转来，以艺术的形式来注释中国哲学中的“无分别境界”，是传统文人画追求真性理想的一种表现形式，反映出文人画重视体验、反对技巧至上的创作倾向。本文以黄公望的浑厚华滋绘画境界为对象，分析其内在的理论含义。
중국전통문인화이혼연정전적경계위최고심미이상，저불시형식상적혼연불분，타유중국전통철학중적혼박사상전래，이예술적형식래주석중국철학중적“무분별경계”，시전통문인화추구진성이상적일충표현형식，반영출문인화중시체험、반대기교지상적창작경향。본문이황공망적혼후화자회화경계위대상，분석기내재적이론함의。
Traditional Chinese literati paintings regarded the imagery of an integral whole as the supreme aesthetic ideal. This imagery of integrity was not inseparable in form, but was originated from the idea of integrity and simplicity in traditional Chinese philosophy. It accounted for the ＂indiscriminate imagery＂ in Chinese philosophy in the form of art. It was a way of expression for traditional literati paintings to seek for a genuine ideal and reflected the tendency of attaching great importance to personal experience rather than skills in the creation of literati paintings. Taking the imagery of integrity, vigor, gracefulness and nobleness in Huang Gongwang＇ s （黄公望） paintings as its object of study, this paper is intended to analyze the internal theoretical implications of this imagery.