예술을 바라보는 불교적 패러다임에 대한 연구

초록

If we appreciate Buddhist art works sincerely, we must read it not by Western thought and aesthetic but by Buddhist’s own paradigms; reading not by positive information but by mind, reading not by essence but by relation, reading not by identity but by difference, appreciating not by a principle of binary opposition but by that of fuzzy. reading not by part but by totality. I give a name to readings of mindfulness, aesthetics of inter-relation and inter-dependance. aesthetics of difference, aesthetics of fuzzy, readings of totality. Buddhist art works must be read not by positive information but by mind. All creatures have Buddha-hood in their mind, we all have an aesthetic sense that appreciates works in our eye. An appreciation is not to understand critically a text, to comment or to explain and remember it, but is exposing Buddha, hidden in our mind. Buddha means meanings hidden deeply in the text. It is the readings of mindfulness. Buddhist art works must be read not through a essentialist point of view but a point of view of relation. This is not a compromise of reading and appreciation of a text but a reading between this text and the another hidden one. The inter-relative interpretation is oscillating incessantly between the two texts. That is to say, we read the relations between the present text and the absent text and find textual traces. It’s the aesthetics of inter-relation and inter-dependance. Buddhist art work must be read not through a thought of identity but through that of difference. In the light of Buddhist thought of inter-relative dependence theory, author and reader become one in the relation of not-one-and-not-two. Because he creates his works after reading and imitating other’s works, and he writes while imaging future readers in his mind, we can say that the author is the reader. Because he interprets works as author’s intentions and sometimes writes against his author, we can say also that the reader is the author. It’s the aesthetics of difference. Buddhist art work must be appreciated not by a principle of binary opposition, A-or-not-A, but by that of fuzzy, A-and-not-A. At the very moment that I appreciate a beauty of text, others can appreciate its ugliness. At the very moment that I feel some aesthetic pleasure, others can feel some unpleasure. As all the art work is both beautiful and ugly. reader who appreciate the art work feels both pleasure and unpleasure. It’s the aesthetics of fuzzy. Buddhist art work must be read through not a thought of part but that of totality. It does not mean a transposition from the analytical appreciation to the synthetic one. In Hwayen-Buddhism, one is whole, and whole is one. It makes us to read a whole in every part, and see a part while looking a whole. It is the aesthetics of totality

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