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| the stanford daily(청계 차일수 스탠퍼드 신문기사) |
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2025-03-24 17:57:19 |
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the stanford daily
March 11, 2025
이 글은 Cheonggae Ilsu Cha(청계일수차) 작가의 전시회를 다룬 내용으로, 그의 예술이 자발성과 전통, 그리고 어린아이 같은 순수함의 조화를 어떻게 이루고 있는지에 대해 설명하고 있습니다. 다음은 주요 내용을 번역한 것입니다:
동아시아 도서관에 들어서면 묵직한 고요 속에서 사색의 울림이 퍼져 나옵니다. 이곳은 한국 예술가 청계일수차의 문인화 작품들 속에서 먹, 공간, 그리고 정신의 섬세한 상호작용을 느끼게 합니다.
Cha의 전시, “본질을 붙잡으면 형식은 사라진다”는 ‘득의망상(得意忘象)’이라는 개념에서 철학적 영감을 받았습니다. 이는 어떤 대상을 진정으로 포착하기 위해서는 겉모습을 녹여 없애야 한다는 뜻으로, 이는 전통적인 중국 및 한국 문인화의 가치를 현대적으로 재조명하고자 하는 Cha의 작품에서 드러납니다.
문인화는 시, 그림, 그리고 서예를 융합한 예술 형태입니다. 교육자로 40년을 보낸 뒤 예술과 시에 전념하기 시작한 Cha는 동파(蘇東坡)와 김정희 같은 문인화 예술가들의 전통을 잇는 한편, 그 작품은 과거의 경의를 넘어 새로운 경지를 개척하고 있습니다.
Cha의 작품은 기(氣)라는, 단순한 기술을 넘어 작품을 생명력 있게 만드는 요소를 구현합니다. 정교함 대신 정신을, 측정된 선 대신 유연함을 보여주며, 여백의 무게는 먹이 그린 부분 못지않게 중요합니다.
특히 빨간색은 Cha의 작품에서 두드러지게 나타납니다. 빨간색은 전통 문인화에서 과도함으로 여겨져 자제되었으나, Cha의 작품에서는 강렬한 존재감을 뿜어냅니다. 이러한 색채와 대범한 붓놀림은 단순히 형태를 넘어 본질과 기를 담아내며 관람객의 마음을 사로잡습니다.
또한, 영어 서예가 포함된 점도 독특합니다. 이것은 처음에는 이질적으로 보이지만, 문인화의 자유로운 표현 철학과 잘 어울립니다. 특히, "아이들은 어린 시절이 지겨워 급히 어른이 되려고 하고, 다시 어린 시절을 그리워한다"는 문구가 눈에 띕니다. 이는 인간 경험과 예술적 추구 모두에 공통적인 역설을 담고 있습니다.
이러한 표현은 화가 피카소의 말, "아이처럼 그림 그리는 법을 배우는 데 평생이 걸린다"는 생각과 통합니다. Cha의 작품은 ‘동심(童心)’이라는 문인화적 이상과도 연결되며, 진정한 예술은 어린아이처럼 순수한 호기심과 진실한 시선으로 세상을 대면하는 데 있다고 주장합니다.
To paint like a child again: Exploring
Cheonggae Ilsu Cha’s exhibition at the
East Asian Library
At the East Asian Library, Cheonggae Ilsu Cha’s exhibition reimagines literati painting with his childlike spontaneity and unrestrained
expression. (Courtesy of Stanford Libraries)
Walking into the East Asian Library, one is immediately enveloped by the quiet hum of contemplation. The very
atmosphere lends itself to the delicate interplay of ink, space and spirit in South Korean artist Cheonggae Ilsu Cha’s
literati paintings.
March 11, 2025
By Vivian LiangCha’s exhibition, “Grasp the Essence, and the Form Fades Away,” takes its philosophical cue from the concept of
T?g?i Mangsang (????) — meaning to truly capture the essence of a subject, one must allow its superficial form to
dissolve. This sentiment, often echoed in the traditional Chinese and Korean literati painting (Muninhwa, ???), finds
renewed urgency in Cha’s work.
Literati art is a form of art that blends poetry, painting and calligraphy. Having spent 40 years in education before
fully devoting himself to art and poetry, Cha follows in the footsteps of literati figures such as Su Dongpo and Kim
Jeong-hui, who found in ink and brush a means of distilling both worldly and otherworldly truths.
Cha situates himself in this tradition, yet his work is far from a mere homage to the past. His paintings embody the
qi: the life force that animates a work beyond technique. Here, precision yields to spirit, measured lines give way to
fluidity, the silent weight of negative space becomes as crucial as the ink that stains it. His brushstrokes show
minimalism as not merely aesthetic reduction, but as a practice in restraint: an art of knowing when to stop, when to
let the painting breathe.
And yet, there is color. Not the reserved hues of antiquity, but red – bold, urgent, expansive. Red, a pigment once
restrained in classical literati painting for fear of being gaudy or vulgar, finds in Cha’s compositions a startling
presence. In Cha’s works such as “Red Pearl”, or the sweeping fields of crimson in other pieces, the pigment does
not sit idly upon the surface; it commands attention, interacting with calligraphic strokes in a dance between
saturation and emptiness, tradition and rupture.
This, in fact, makes me ponder, in relation to the childlike playfulness that seems to be present throughout Cha’s
work, how much, then, has the literati’s fear of vulgarity, of the worldly, led to artistic restraint? For in a child’s
eye, the world is as gaudy as it is wondrous, colors unfettered, as though observed for the first time. I am drawn to
Cha’s use of color, in its broad, rather wide and reckless brushstrokes. Cha has captured not just the form but also
the essence of qi that has been subdued by conventional literati art.
Perhaps one of the most striking elements in Cha’s work is his incorporation of English calligraphy — a visual
gesture that at first seems anachronistic, yet, on closer inspection, sits seamlessly with the literati ethos of freeflowing,
unrestrained expression. A particular phrase stands out: “That they, bored with childhood, rush to grow,
and then long to be children again.” The writing, rendered in a manner that is playful, even childlike, presents a
paradox familiar to both the human experience and the artistic pursuit. To unlearn the rigidity of form, to paint with
the intuition of a child: this, too, is an ambition shared by literati artists through the ages.
In many ways, Cha is following the very path Picasso once traced when he declared that “it takes a lifetime to learn
how to paint like a child.” This notion of returning to a state of unburdened perception resonates with the literati
ideal of tongxin (??) — the child’s heart — in that true artistry lies in seeing the world with clarity and honesty. To
be an honest artist, then, is to face the world — nature, reality and its fleeting forms — with the utter curiosity andintegrity of a child.
And in this, Cha is well on his way.
Vivian is a junior studying art history and economics. She writes abo art.
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