중국 道家의 無爲自然사상과 조선시대 民藝美의 공통적 특징에 대한 비교 연구

A Comparative Study about the Common Distinction of Chinese Taojia(道家)' Ideology of Natural Situation without Artificial Technique(無爲自然思想) and the Beauty of Korean Folk Art (Minye, 民藝)

The viewpoints for Korean Folk Art(Minye, 民藝), studied until today, have been mostly focused on the rediscovery of distinctions, which differ from the aesthetic sense of the upper class in Korean Art including early Japanese. On the other hand, the comparative research about the originality and indigenity of Korean Art has been hardly achieved. Therefore, to be accomplished more objective and global assessment has such academic limits. This paper intends to help solving such problems with comparing the point of sameness throughout the comparison between the ideology of natural situation without artificial technique(無爲自然思想) suggested by Lao-Chuang(老壯者) in the Chinese Taojia(道家) and the Korean Folk Art(Minye, 民藝). Its system is based on the formation of the ideology of natural situation without artificial technique(無爲自然思想) in China, the accommodation of Taojia(道家) and ideology of natural situation without artificial technique(無爲自然思想) in Korea, opening Chinese art historical accommodation. Also, it orderly accomplished examining the factors of natural situation without artificial technique, discovered in Korean folk art by Chosun handicraftsmen. Both also means to research the identity of Korean art quite a lot at the point of the ideology and artistic trend of thought, which the consequent distinctions appeared in the social background, ideological trends, or artworks at that time, were differently formed each other in between about 2000 years. Korean folk art(Minye, 民藝) forms miraculous joining, at the point of, which Taojia(道家) stage of natural situation without artificial technique(無爲自然思想) reached a stage of farsighted view throughout technical training for a background of variously indigenous conditions, and then it accomplishes a world view, which is innocent and unintentional absolute nature. It is hardly founded at the upper class art of both Chinese and Korean art history. Such study is inferred as the important