​　　论文摘要

　　본 논문은 회화적 표현에 있어서의 자유, 즉 物質(물질)과 精神(정신)의 중간지대에서 근원적인 문제를 찾아가는 “混沌(혼돈)과 秩序(질서)”로 시작되는 본인의 작업에 관한 체험을 학술화한 것이다. 본인의 작업은 비물질적 대상의 이미지를 화면에서 秩序화하여 無限(무한)한 空間(공간)으로 넓혀 가는 본인의 작업과정상에 있어 새로운 시각의 전환점을 맞이하게 된다.

　　행위의 표현들은 직접적이고 순간적인 드로잉의 원초적 모습을 드러낸다. 線(선)은 이미 대상을 재현하는 종속된 線이 아니라 線자체의 표현인 그어지는 힘에서 모든 가능성들을 찾아간다. 말하자면 행위를 통한 物質과 精神의 교감에 의한 즉흥적인 線들의 표현인 것이다. 線적 구조에서 뿜어 나오는 내재적인 표현들은 氣(기)와  韻(운)의 생성 속에서 대립되며 모순되는 陰(음)과 陽(양)의 상대적 존재로 된다. 周易(주역)에서의 八卦(팔괘)方位(방위)의 신비적인 宇宙觀(우주관)을 암시적인 空間에 반복시킴으로 동양적 宇宙槪念(개념)에 대한 인식에 도달하고자 한다.

　　충동적이며 감각적인 반복의 필치들의 잠재적 요인은 象形文字(상형문자)로 익혀온 사물의 槪念들이 내포되었을 뿐만 아니라, 행위의 흔적들을 본인의 精神的 空間으로 끌어들였다가 또 다시 작업으로 끌어내는 精神과 物質 사이의 반복된 對話(대화)라고 할 수 있다. 對話속에 混沌의 無秩序는 작업의 대상으로 이끌어 간다. 이러한 對話는 道(도), 즉 老子(노자)와 莊子의(장자) 無爲自然(무위자연)사상인 遊(유)의 槪念을 인식하는 과정이기도 하다. 이는 無爲의 虛無(허무)한 자유, 해방사상의 槪念을 거대한 범주로만 인식하던 한계를 극복하려는 본인의 의도가 본 논문의 주요한 동기가 된다. 본인은 遊의 기본조건이 되는 無用(무용)과 和(화)를 작업의 本質的(본질적)인 요소로 삼아 창조적 자유에 이르고자 한다. 즉 秩序가 아닌 無秩序속에서 秩序를 찾아가는 창조를 말하는데, 근원이 된다고 할 수 있는 無用이 또 다시 有用(유용)의 근원이 됨을 밝히는 과정이라 할 수 있겠다. 이때 混沌은 遊의 존재대상인 有用의 槪念으로, 상상을 초월할 수 있는 精神的인 근원이 된다.  

　　상징적 色調(색조)로 절제되어 가는 바탕색, 그 위에 주로 黑(흑)과 白(백)색을 문질러 화면을 메워 간다. 화면은 미묘한 회색 톤으로 水墨(수묵)에서 潑墨(발묵)의 표현과 같이 黑색이 힘을 보이며, 이러한 힘이 내뿜는 氣의 강렬한 분위기는 韻을 이룬다. 여기에서 白색은 절대적인 대립과 화합을 이루며 水墨에서 표현될 수 없는 다른 物質(아크릴릭)적 질감이 두께를 주며 표현된다. 이렇게 절제된 색과 線의 표현은 氣와 韻의 거리를 좁혀 간략하며 명쾌한 조형언어의 生動性(생동성)을 구사하기 위해서이다. 반복적인 행위에서 표현되는 긴장된 線들은 氣와 韻의 화합을 통해 생성되며, 意識(의식)과 無意識(무의식)의 상호작용이 반영되어 있다. 기억 속의 존재들은 애매 모호한 상태로 있다가 線에 의하여 드러나게 되며, 潛在意識(잠재의식)의 발로라고 할 수 있는 이들은 기억의 시간적 궤적으로, 의미를 형성할 수 없는 은유적인 지층을 쌓아 간다. 붓질은 앞에서 언급한 바와 같은 秩序를 화면에 감각적으로 구현하는 과정이라 할 수 있겠는데, 붓대의 뒷 끝으로 마르기 전의 물감을 긁어 가는 행위의 흔적으로 아크릴릭 물감과 화폭을 대하는 실제적 체험에서 드러나는 반응의 과정이 되기도 한다.

　　이렇게 物質과 精神의 중간지대에서 반복되는 意識과 無意識의 발현은 우연적인 상상의 秩序들을 구축하는 작업의 중요한 과정이 되며 초월적인 無我(무아)의 경지, 즉 無의 精神的인 空間에 접근하는 하나의 現場(현장)으로 된다.

　　본 논문을 통해 일관되게 드러내고자 하는 동양사상은 내적이며 精神的인 문제로 작업의 주된 동기가 되며 작업의 전 과정을 통해 일관되게 흐르는 본인의 회화론을 가능케 한다. 본인은 비 물질 대상을 통해 無限한 精神空間을 표현함으로써 物質的 표현의 한계점을 극복하며 無爲사상으로 근원적인 本質에 접근하여 인식의 범주를 無限한 宇宙的 空間에 이르도록 하고자 한다.

  主 要 語 :

  混沌과 秩序,  無爲로서의 자유,  物質性과 精神,

  중간지대,  충동적 표출과 힘, 書體的 은유성,  

  潛在意識의 발현,  無用과 和,  필치,  원초성,  상징적 色調,      

  ABSTRACT 

  A Study of Expression with the line about Concept of "Float"

  - Focusing on my work -

  Ri-Long  Jin

  Painting Major

  Department of Painting

　　GraduateSchoolofSeoulNationalUniversity       

  This thesis is about the freedom of expression of picture, in other words, experience about my work which begins with "Chaos and Order" that seeks original problems in the middle zone of material and spirit. My work meets the turning point of a new vision in the course which spreads out a image about non-material objects making order from the surface to the unlimited space.

  Expression of action shows the basic figure of drawing which is direct and momentary. A line is not subordinate line that represents the object. It finds all capabilities with the marked energy which is the expression of the line itself. In other words, it is an expression of improvisatory lines which were made by the consensus of material and spirit through the action. Inherent expressions sprayed of structure with the line is opposed in the creation of energy and rime, and it is relative to the existence of contradictory "Yin" and "Yang". I express the mystic outlook on the universe(of the Eight Trigrams for divination and a point of the compass in the Book of Changes) on the suggestive space and come to the recognition about oriental concept of the universe.

  Subordinate element of impulsive, sensual and repeated strokes of the brush contains th concept of things which are used by hieroglypy It can be repeated conversation between material and spirit that draws traces of action in the space of my spirit and then draws it out to my work. In the conversation, disorder of chaos is guided to the object of work. This conversation is the course of recognizing doctrines, in other words, concept of floating which is thought about idleness and nature of Lao-tzu and Chuangtzu. It is the main motive of my thesis that I try to conquest the limitation that recognize the nonexistent liberty of idleness and the concept of thought about liberation as a huge category. I make uselessness and peacefulness essential element of work and then come to creative liberalness. It is creation that pursues the order in the order which is not order. It is the course that makes clear that uselessness is the root and it is also the root of usefulness. In this time, chaos is the concept of usefulness that is existence of float, and spirit root that transcends the imagination.

  The surface is filled up with black and white colors mainly in the ground color which is under the control of symbolic color tones. The surface is a delicate gray tone and its black color shows power like the expression of dark from light ink. Intense atmosphere of energy sprayed by this power constitutes rime. White color made a harmony with absolute opposition, and acryl (we can't express with it on the picture with India ink) texture is expressed with thickness. Controlled expression of color and line make narrow gaps between energy and rime, and then it is essential for good a command of animation of simple and clear molding words. Tense lines expressed through repeated action, is made by harmony with energy and rime, and reflected interaction of consciousness and unconsciousness. At first, existences in the memory are in the vague condition, and then become lines. These can be expression of subconsciousness and pile up the metaphorical stratum which we don't make up the meaning.

  Making a brush stroke is the course that embodies the order sensually in the surface. It is traces of scratching action with stick of brush before dyes dry. It is course of reaction that comes out through practical experience with acrylic dyes and canvas

  Expression of consciousness and unconsciousness repeated in the middle zone of material and spirit, becomes important courses of work that make the order of accidental imagination. It is also the ground that approaches to the spirit space of nonexistence, in other words, transcendental spiritual state of perfect selflessness.

  Oriental thought which I try to show consistently in my work, is inner and spiritual, and becomes the main motive of my work. And it makes a possibility about my consistent theory of picture in the whole course. I conquest critical point of material expression with expressing unlimited spiritual zone through non- material object and want to reach category of recognition to the unlimited universe space approaching the essential origin with thought of idleness.

  Keyword : chaos and order, natural liberalness, things and spirits, middle zone between material and mind, impulsive expression and force, caligraphic metaphor, present from subconsciousness, uselessness and harmony, handwriting, originality, symbolic hue.