Comment: Kim argues for aesthetic rationality, as a kind of aesthetic consciousness, at the heart of Korean identity. He traces its unique cultural legacy in Korean shamanism, Buddhism, Confucianism, and Daoism in order to account for the characteristic vitality and spontaneity in Korean art. This text is appropriate for an aesthetics course. It does not require a background in Korean philosophy, but at least an introductory knowledge of aesthetics would be beneficial.
Kwang-Myung Kim. Korean Aesthetic Consciousness and the Problem of Aesthetic Rationality
1998, Canadian Aesthetics Journal, 2
Added by: Meilin Chinn
Abstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean's mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist's unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.
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