안드레이 타르코프스키의 영화에 반영된 동서양 신비철학과 전일성(全一性)

초록

Based on Andrei Tarkovsky’s view of the world, this thesis begins by tracing the root of his thoughts that integrate the terms expressed as Christian, Buddhist, pagan and mystical, and sometimes, as incompatible. From individual human souls to problems at the global level, his films, which are associated with the theme of 'salvation', were generally viewed as films with Christian themes. However, a closer look at Tarkovsky 's work reveals that his films have a Buddhist view as well as pagan elements that are opposite to the Christian doctrine from the standpoint of traditional theology. Therefore, it is essential to reexamine the sources of his thoughts and his view of the world, which have various religious characteristics that are generally regarded as incompatible. Tarkovsky's works were defined as philosophical, but there was almost no research on philosophy and thoughts that his spiritual world was based upon. The religious elements in his films have received attention but in-depth research on his films has not been conducted. This thesis examines Tarkovsky's works at various levels by understanding his individual work microscopically based upon the Eastern and Western religions and philosophy, and analyzes the influence on Tarkovsky's view of the world. In addition, the combination of his spiritual philosophy and his visual aesthetics together with the macroscopic frame that is also known as the allness from the Eastern and Western mystic philosophy in Tarkovsky's films will be reviewed. Tarkovsky’s world view, which includes the oriental and western religions and ideas, was able to identify the connection with various ideas of mystic and spiritual philosophers, including Rudolf Steiner and Georgii Gurdzhiev. The mystic philosophers such as Steiner, Gurdzhiev and Uspensky commonly emphasized the maximization of the potential of human spiritual growth. Tarkovsky explored the books of Gurdzhiev and Uspensky, who led the revolution in the consciousness of the world by introducing the oriental philosophy and performance system to the Western philosophy. He was also very interested in Rudolf Steiner’s philosophy “spiritual science”. The expression of Laozi’s "virtues" or Buddhist philosophy in his films is also a proof that he had made efforts to integrate Eastern philosophy with Western philosophy. Crossing the East and the West, simultaneously exploring the sources that connect Eastern and Western thought and philosophy as one, and the world that gazes at it are connected with the 'theoria physica' imaging which was reproduced in Tarkovsky's film. He emphasized the inner eye that could give insight into the harmony of all things and the correlation. For him, loving other people by letting go of one’s ego and further the consciousness that humanity should aim to become one would have been a natural extension. As we examined, Tarkovsky was a filmmaker who strived to visualize his own life and art, and above all his own world view. In other words, as an artist, Tarkovsky had strived for his lifetime for a soul ascension by escaping from the material and physical world, returning to the One which was the cause of existence, and gazing toward the absolute world. He was interested in meditation and had made great efforts to reach the state of nirvana by returning to the One. He had devoted himself to finding the true soul through the characters in his films. Through these processes, Tarkovsky had come to believe that the gospel truth corresponds to goodness and beauty, and here, his aesthetics meets with his ethics.

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