ํšŒ์ถ˜์˜ ๋ช…๋ถ„ (๊ฒฝํ–ฅ์‹ ๋ฌธ 2016.11.4)
(๊น€์ง€์—ฐ, ์ „์‹œ๊ธฐํš์ž)

1981๋…„ ์„œ์šธ์—์„œ ํƒœ์–ด๋‚œ ์ •์ •ํ˜ธ์—๊ฒŒ ์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ๋Š” ํŠน๋ณ„ํ•œ ๊ฐํฅ์„ ์ฃผ์ง€ ์•Š์•˜๋‹ค. 1970๋…„ ์™„๊ณต๋œ ์ด ๊ณ ๊ฐ€๋„๋กœ๋Š” ๊ฒฉ๋ณ€์˜ ์„ธ์›”, ํ•œ์ž๋ฆฌ์— ์„œ ์žˆ์œผ๋ฉด์„œ ํ•œ๊ตญ์˜ ํ˜„๋Œ€์‚ฌ๋ฅผ ๋ชฉ๊ฒฉํ–ˆ๊ณ , ๋•๋ถ„์— ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์˜ ๊ธฐ์–ต์„ ์†Œํ™˜ํ•˜๋Š” ์„œ์šธ์˜ ์ƒ์ง•๋ฌผ๋กœ ์ž๋ฆฌ์žก์•˜๋‹ค์ง€๋งŒ, ์ •์ •ํ˜ธ์—๊ฒŒ ๊ฐ์ •์  ๋™์š”๋ฅผ ๋ถˆ๋Ÿฌ์ผ์œผํ‚ค๋Š” ๋Œ€์ƒ์€ ์•„๋‹ˆ์—ˆ๋‹ค.

๊ณ ๊ฐ€๋„๋กœ๋ฅผ ์—†์• ๋Š” ๋Œ€์‹  ๊ณต์›ํ™”ํ•œ๋‹ค๋Š” ์†Œ์‹์„ ๋“ค์€ ํ›„์—์•ผ ๊ด€์‹ฌ์ด ์ƒ๊ฒผ๋‹ค. ์‚ฌ๋ผ์ ธ๊ฐ€๋Š” ๊ฒƒ์„ ๋‚จ๊ฒจ๋ด์•ผ๊ฒ ๋‹ค๋Š” ์ •์ฒด๋ถˆ๋ช…์˜ ์ฑ…์ž„๊ฐ์ด ์ž‘๋™ํ–ˆ๋‹ค.

๋Œ€์ƒ์„ ํ–ฅํ•ด ํŠน๋ณ„ํ•œ ๊ฐ์ •์  ๋™์š”๊ฐ€ ์—†์œผ๋‹ˆ ์˜คํžˆ๋ ค ๊ฐ๊ด€์„ฑ์„ ํ™•๋ณดํ•  ์ˆ˜ ์žˆ๊ฒ ๋‹ค๊ณ  ๋ณด์•˜๋‹ค. ๊ทธ๋ž˜์„œ ๊ทธ๋Š” ๊ฑฐ๋Œ€ํ•œ ์‹œ๋ฉ˜ํŠธ ๋ฉ์–ด๋ฆฌ๋ฅผ ๋‹ค๋ฃจ๋Š” ์‚ฌ๋žŒ๋“ค์˜ ์›€์ง์ž„์„ ๋ณด๊ณ  ๊ธฐ๋กํ•˜๋Š” ์ผ์— ์ฐฉ์ˆ˜ํ–ˆ๋‹ค.

์†Œ๋ฉธ์ด ์šด๋ช…์ด๊ฑด๋งŒ ์ฒ ๊ฑฐ ์ง‘ํ–‰์„ ์œ ์˜ˆํ•˜๊ณ  ์ƒ๋ช…์—ฐ์žฅ์˜ ๋Œ€๊ทœ๋ชจ ์ˆ˜์ˆ ์„ ์ง‘๋„ํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ๋ช…๋ถ„์ด ํ•„์š”ํ•˜๋‹ค. ์ง€์ƒ์œผ๋กœ๋ถ€ํ„ฐ 17m ๋†’์ด๋ฅผ ์ด์—ˆ๋˜ ํ•˜๋Š˜๊ธธ ๊ณ ๊ฐ€๋„๋กœ๋Š” ๋Œ€ํ•œ๋ฏผ๊ตญ ๊ทผ๋Œ€ํ™”์˜ ์ƒ์ง•๋ฌผ์ด์—ˆ๋‹ค. ์—ญ์‚ฌ์ ์ด๋‹ค. ๊ทธ ์ž์‹ ๋ฟ ์•„๋‹ˆ๋ผ ์„œ์šธ์—ญ ์ผ๋Œ€๋ฅผ ๊ณ ๋ถ€๊ฐ€ ๊ฐ€์น˜๋กœ ๋งŒ๋“œ๋Š” ๋„์‹œ์žฌ์ƒ์˜ ์ฃผ์ธ๊ณต์ด ๋  ์ˆ˜๋„ ์žˆ์—ˆ๋‹ค. ๋„์‹ฌ์˜ ์„ฑ์žฅ๋™๋ ฅ์ด ๋˜๋ผ๋Š” ์ž„๋ฌด๋ฅผ ๋ถ€์—ฌ๋ฐ›์œผ๋ฉฐ ์กด์žฌ ๋ช…๋ถ„์„ ํ™•๋ณดํ•œ ๊ณ ๊ฐ€๋„๋กœ๋Š” ์šด๋ช…์„ ๊ฑฐ์Šค๋ฅธ ์ƒ๋ช…๋ ฅ์„ ๊ณผ์‹œํ•œ๋‹ค.

์ •์ •ํ˜ธ๋Š” ๊ณต์‚ฌ์žฅ ์ฃผ๋ณ€์„ ์ง€์†์ ์œผ๋กœ ๋ฐฉ๋ฌธํ•˜๋ฉฐ ๊ทผ๋ฐฉ์— ๊ฐ€๋ฆผ๋ง‰์ด ์„ธ์›Œ์ง€๊ณ  ๋ช‡ ๊ฐœ์˜ ๋„๋กœ๊ฐ€ ์ œ๊ฑฐ๋˜๋Š” ๊ณผ์ •์„ ๋ณด์•˜๋‹ค. ๋นจ๊ฐ„ ํ˜ธ์Šค๊ฐ€ ๊ณ ๊ฐ€๋„๋กœ ์œ„๋กœ ๊ฝ‚ํžˆ๊ณ , ํ˜ธ์Šค๋กœ ๋”๋Ÿฌ์šด ๋ฌผ์ด ๋น ์ ธ๋‚˜์™”๋‹ค. ๊ฑฐ๋Œ€ํ•œ ๊ธฐ๊ณ„๊ฐ€ ํฐ ์ฒ ๊ทผ์„ ๋“ค์–ด ์˜ฌ๋ ค ๋„๋กœ์— ๋‹ค์‹œ ๊ฝ‚์•„ ๋„ฃ์—ˆ๋‹ค. ๊ทธ๋ ‡๊ฒŒ ๊ณ ๊ฐ€๋„๋กœ๋Š” ์ Š์–ด์ง€๊ณ  ์žˆ์—ˆ๋‹ค.

๊ทธ๋Š” ๊ณ ๊ฐ€๋„๋กœ ํšŒ์ถ˜์˜ ๊ณผ์ •์„ ํ”„๋ ˆ์ž„์— ๋‹ด๊ณ  ์ข…์ด์— ์ธํ™”ํ–ˆ๋‹ค. ๊ทธ๋Ÿฌ๊ณ ๋Š” ๊ณง ์ด ์‚ฌ์ง„์„ ๋•…์— ๋ฌป์—ˆ๋‹ค.

์–ผ๋งˆ์˜ ์‹œ๊ฐ„์ด ํ๋ฅธ ํ›„ ๋•…์—์„œ โ€˜๋ฐœ๊ตดํ•œโ€™ ์‚ฌ์ง„์€, ๊ตฌ๊ฒจ์ง€๊ณ  ์ฐข์–ด์ง€๊ณ  ํ™๋จผ์ง€์— ๋ณ€์ƒ‰๋˜์–ด ๋งˆ์น˜ ๊ณผ๊ฑฐ์˜ ๊ธฐ๋ก์ฒ˜๋Ÿผ ๋ณด์˜€๋‹ค. ์‹œ๊ฐ„์ด ์ฐจ๊ณก์ฐจ๊ณก ๋ˆ„์ ๋œ ๋ชจ์–‘์ƒˆ์˜€๋‹ค. ๊ทธ๋Š” ํ˜„์žฌ์ด์ง€๋งŒ ๊ณผ๊ฑฐ์ธ ์ฒ™ํ•˜๋Š” ์ด ์ด๋ฏธ์ง€๋ฅผ ๋‹ค์‹œ ์Šค์บ”๋ฐ›์€ ํ›„ ์žฌํ”„๋ฆฐํŠธํ•˜์—ฌ ์ž‘์—…์„ ์™„๊ฒฐ์ง€์—ˆ๋‹ค. ๊ณผ๊ฑฐ์ด๋ฉด์„œ ํ˜„์žฌ์ด๊ณ  ๋˜ ๋ฏธ๋ž˜์—ฌ์•ผ ํ•˜๋Š” ์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ๋Š” ๊ทธ๋ ‡๊ฒŒ ๊ธฐ๋ก๋˜์—ˆ๋‹ค.




Fragments
(Claire Monneraye, Curator_Australian Centre for Photography)

โ€œWhite is a deep, absolute silence, full of possibility. Black is nothingness without possibility, an eternal silence without hope, and corresponds with death.โ€œ Concerning the Concerning the Spiritual in Art, 1912, Wassily Kandinsky

Fragments presents a selection of different series by Korean artist Jungho Jung that revolve around the element of water. Liquid, frozen or gas, the artist has captured images that transcend literal representation to reach the poetic. While French philosopher Gaston Bachelard stated that โ€˜more than any other element, water is a complete poetic realityโ€™, some of Jungโ€™s images could be perceived as haiku for Bachelardโ€™s Water and Dreams, An Essay on the Imagination of Matter (1942) in which the waters are animated by the imagination of the philosopher-poet. Clear, deep, violent, cold, from the surface of water with its reflective narcissism to the very depths where water flows into death, Jungโ€™s explorations have the poetical aspiration of fluid imagination.

Articulated around a triptych, The State of All Things, Fragments also suggests that Jungโ€™s abstract visual explorations implicitly delve into Taoism, an oriental philosophy that emphasises living in harmony with the Tao. Translating as โ€˜wayโ€™, Tao denotes the natural order of things that is both the source of and the force behind every living element and object, as well as the entire universe. While the microscopic environment inside an ice cube contains the fragment of a wider universe, Jung is concerned with what exists between the interior and exterior. In this in-between space where the real infiltrates the imaginary, black and white resonate ad infinitum like two consistently opposing entities that could not, however, exist without one another. In this sense, the works Tension in Black, Black and White and White from Black seem to reference the Yin Yang, the concept of duality forming the whole, symbolising how seemingly contrary forces are actually complementary and interdependent in the natural world, and how they give rise to each other as they interrelate.

From his wanderings into snowfields, around water dams and wonderings about his inner self, Jungโ€™s introspective practice is concerned with the tension between the visible and invisible. Through his black and white visual abstractions, Fragments alludes to this intense silence where being and absence coalesce.




The Contemplative Eyes Encapsulated in the Traces of Things
(by Lee Seung- Hoon, Cyart Research Institute)

It is said artist Jung Jung-hoโ€™s work begins with his exploration of form through the medium of photography. And yet, aesthetic experiments with figurative images and formative content is not all of his work. What we often find in his work is a method seemingly focusing attention on photographic thinking rather than results. He said photography is a means by which he witnesses events and thoughts, seeing the evidence left by the traces of time like fossils. In this sense, his exploration of photography seems to be motivated by his concern for the figurative world, his perspective toward this world, and all of his perceptions. His work thus displays an overlap of his artistic imagination and gestures as specific symbolic indicators with the images he captures. That is, the images he captures in photographs are an aspect of nature and indicators of the world he envisages and contemplates.

His works on display at this exhibition showcase details of ice that look like microcosms captured with a close-up lens. The images are like the fine structures of an organism magnified with a microscope or a universe captured with an astronomical telescope. The surface of ice irregularly reflecting candle light seems like another world beyond the visible.

As in his previous work, featuring mountain ridges capped with snow, Jung encapsulated natural objects in photographs. Nevertheless, he wants to show another world implied by the form of things rather than the natural things he chooses to photograph. He wants to reveal a hidden world. He created a sense of dreary, noiseless space in his condensed scenes of nature covered with snow, and now in his ice images we might feel like momentarily existing beings in the middle of a universe where time stands still.

The different aspects and conditions of a material ? water, snow, ice ? are represented in Jungโ€™s photographs. His photographic pieces have the distinctiveness of drawing out minute changes in visual impression. The viewers realize that their eyes are not fixed to a certain point but flow along the grains of matter in the empty blank spaces of white or the halted space engendered by a glimmering light in the deep gloom. They undergo a paradoxical situation in which they respond to some force hidden behind a thing rather than the thing itself. Jung captures the subtle flow of nature.

Jung has been infatuated with the medium of photography because it visually captures every moment of a material. This is also why photography is best to capture minute changes and sensuous elements deriving from every encounter with a material and its condition. Recently however, he carried his ideas a step further, coming more closely to objects and moving beyond his previous contemplative eyes. The artist seems to pay attention to the role of photography at the place where the object of matter meets his spirit in a stream, removing the distance between the material and the artist. Photography is not a medium but his eyes, and now the artist himself.

Through โ€œseeingโ€ and โ€œthinkingโ€ through the medium of photography, Jung has discovered he sees and thinks as in a photograph and views the world as a photograph, highlighting the minute details or grains on the surface of matter. He seems to show the flow of the grains is not different from the stream of his spirit and the artist himself and the world are there in a photographic manner. Through his works, we discover the artist himself, or his eyes, focusing on the things he found rather than specific matter and form in the space where noises disappear and the space like death where even time stands still.


์‚ฌ๋ฌผ์˜ ํ”์ ๋“ค์— ๋‹ด๊ธด ์‚ฌ์œ ํ•˜๋Š” ์‹œ์„ 
(์‚ฌ์ด๋ฏธ์ˆ ์—ฐ๊ตฌ์†Œ ์ด์Šนํ›ˆ)



์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด๋ฅผ ํ†ตํ•œ ํ˜•ํƒœ์  ํƒ๊ตฌ์—์„œ ์‹œ์ž‘ํ–ˆ๋‹ค๊ณ  ํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ์˜ ์ž‘์—…์€ ํ˜•์ƒ์  ์ด๋ฏธ์ง€์— ๋Œ€ํ•œ ๋ฏธ์  ์‹คํ—˜์ด๋‚˜ ๋งค์ฒด์  ๋ณ€์šฉ ๊ฐ™์€ ์กฐํ˜•์  ๋‚ด์šฉ๋งŒ ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ์˜คํžˆ๋ ค ๊ทธ์˜ ์ž‘์—…์—์„œ๋Š” ๊ฒฐ๊ณผ๋ฌผ ์ž์ฒด๋ณด๋‹ค๋Š” ์ž‘์—…์„ ํ†ตํ•œ ์‚ฌ์ง„์  ์‚ฌ์œ ์— ๊ด€์‹ฌ ๋‘” ๋“ฏํ•œ ํ‘œํ˜„ ๋ฐฉ์‹์„ ์ž์ฃผ ์ ‘ํ•  ์ˆ˜ ์žˆ๋‹ค. ์ž‘๊ฐ€๊ฐ€ ์–ธ๊ธ‰ํ•œ ๋ฐ”๋กœ๋Š” ์‚ฌ์ง„์€ ๊ทธ์—๊ฒŒ ์žˆ์–ด์„œ ์‚ฌ๊ฑด์ด๋‚˜ ์ƒ๊ฐ์„ ๋ˆˆ์œผ๋กœ ๋ณด๋“ฏ ๋ชฉ๊ฒฉํ•˜๋Š” ์ˆ˜๋‹จ์ด์ž ํ™”์„์ฒ˜๋Ÿผ ํŠน์ •ํ•œ ์‹œ๊ฐ„ ํ”์ ์ด ๋‹ด๊ธด ์ฆ๊ฑฐ๋ฌผ์ด๋ผ๊ณ  ํ•œ๋‹ค. ๊ทธ๋Ÿฌํ•œ ์ ์—์„œ ์ž‘๊ฐ€์˜ ๋ณด๋Š” ํ–‰์œ„ ํ˜น์€ ์‚ฌ์ง„ ๋งค์ฒด์— ๋Œ€ํ•œ ํƒ๊ตฌ๋Š” ํ˜•์ƒ์  ์„ธ๊ณ„์™€ ๊ทธ์™€ ๋ฐ˜์‘ํ•˜๋Š” ์ž์‹ ์˜ ์‹œ๊ฐ, ์ฆ‰ ์ธ์‹ ํ–‰์œ„ ์ „๋ฐ˜์— ๋Œ€ํ•œ ๊ด€์‹ฌ์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค.
๊ทธ๋Ÿฌ๋ฏ€๋กœ ์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์ž‘์—…์€ ์ž‘๊ฐ€์  ์ƒ์ƒ๋ ฅ๊ณผ ํŠน์ •ํ•œ ์ƒ์ง•์  ์ง€ํ‘œ์ธ ์ œ์Šค์ฒ˜๋“ค์ด ๊ทธ๊ฐ€ ํฌ์ฐฉํ•œ ์ด๋ฏธ์ง€์— ์ผ์ •ํ•˜๊ฒŒ ๊ฒน์ณ์ ธ ์žˆ๋‹ค. ๋‹ค์‹œ ๋งํ•ด ์ž‘๊ฐ€๊ฐ€ ์‚ฌ์ง„์œผ๋กœ ํฌ์ฐฉํ•œ ์ด๋ฏธ์ง€๋“ค์€ ์ž์—ฐ์˜ ํ•œ ๊ตญ๋ฉด์ด์ž ์ž‘๊ฐ€๊ฐ€ ์ƒ์ƒํ•˜๊ณ  ์‚ฌ์œ ํ•˜๋Š” ์„ธ๊ณ„์— ๋Œ€ํ•œ ์ผ์ข…์˜ ์ง€ํ‘œ๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค.

์ด๋ฒˆ ์ž‘์—…์€ ์†Œ์šฐ์ฃผ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ์–ผ์Œ์˜ ์„ธ๋ฐ€ํ•œ ํ˜•์ƒ๋“ค์„ ์ ‘์‚ฌ๋ Œ์ฆˆ๋กœ ๋‹ด์€ ๊ฒƒ์ด๋‹ค. ํ˜„๋ฏธ๊ฒฝ์œผ๋กœ ํ™•๋Œ€ํ•œ ์ƒ๋ฌผ์˜ ๋ฏธ์„ธ๊ตฌ์กฐ ๊ฐ™๊ธฐ๋„ ํ•˜๊ณ  ์ฒœ์ฒด๋ง์›๊ฒฝ ์•ˆ์œผ๋กœ ๋“ค์–ด์˜จ ์šฐ์ฃผ ๊ณต๊ฐ„์˜ ๊ฑฐ์‹œ ์„ธ๊ณ„๋ฅผ ํฌ์ฐฉํ•œ ๊ฒƒ ๊ฐ™๊ธฐ๋„ ํ•˜๋‹ค. ์ด›๋ถˆ์˜ ๋น›์ด ํˆฌ์˜๋˜๊ณ  ๋‚œ๋ฐ˜์‚ฌ๋œ ์–ผ์Œ์˜ ํ‘œ๋ฉด, ์–ผ์Œ ์† ๊ธฐํฌ ๊ตฌ์กฐ๋Š” ์ด๋ฏธ ์–ผ์Œ์ด๋ผ๋Š” ๋ฌผ์งˆ์„ ๋„˜์–ด ๊ฐ€์‹œ๊ถŒ์„ ๋ฒ—์–ด๋‚œ ๋‹ค๋ฅธ ์„ธ๊ณ„๋ฅผ ์ง€์‹œํ•˜๊ณ  ์žˆ๋Š” ๋“ฏํ•˜๋‹ค. ์ผ์ƒ์˜ ๊ตฌ์ฒด์ ์ธ ํ˜•์ƒ๊ณผ๋Š” ์ƒ๊ด€์—†๋Š” ์ถ”์ƒ์ ์ด๊ณ  ์ดˆํ˜„์‹ค์ ์ธ ๋Š๋‚Œ์„ ์ „๋‹ฌํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค.

๋ˆˆ ๋‚ด๋ฆฐ ์‚ฐ๋“ฑ์„ฑ์ด ๊ฒฝ๊ณ„๋งŒ์„ ๋ฐฑ์ƒ‰ ๊ณต๊ฐ„์— ์ƒˆ๊ฒจ๋‚ธ ์ด์ „ ์ž‘์—…์—์„œ๋„ ๊ทธ๋Ÿฌํ–ˆ๋“ฏ ์ •์ •ํ˜ธ ์ž‘๊ฐ€๋Š” ์ž์—ฐ์˜ ์‚ฌ๋ฌผ๋“ค์„ ์‚ฌ์ง„์œผ๋กœ ๋‹ด์•˜๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ ์ž์—ฐ ์ด๋ฏธ์ง€ ๊ทธ ์ž์ฒด๊ฐ€ ์ง€์‹œํ•˜๋Š” ์‚ฌ๋ฌผ๋ณด๋‹ค ์‚ฌ๋ฌผ์˜ ํ˜•์ƒ์ด ํ•จ์ถ•ํ•˜๋Š” ๋‹ค๋ฅธ ์„ธ๊ณ„๋ฅผ ๋ณด์—ฌ์ฃผ๋ฉฐ ๊ทธ ์ด๋ฉด์˜ ์„ธ๊ณ„๋กœ ์ ˆ๋ฌ˜ํ•˜๊ฒŒ ์‹œ์„ ์„ ์ด๋Œ์–ด๋‚ธ๋‹ค. ๋ˆˆ ๋ฎ์ธ ์ž์—ฐ์˜ ์••์ถ•๋œ ํ™”๋ฉด์„ ๋ณด์•˜์„ ๋•Œ์—๋Š” ์†Œ์Œ์ด ์‚ฌ๋ผ์ง„ ๊ฒƒ ๊ฐ™์€ ์ ๋ง‰ํ•˜๊ณ  ๋น„์›Œ์ง„ ๊ณต๊ฐ„๊ฐ์„ ๊ฒฝํ—˜ํ–ˆ๊ณ , ์–ผ์Œ์— ํˆฌ์˜๋œ ์„ธ๊ณ„๋ฅผ ๋ณด๊ฒŒ ๋œ ์ง€๊ธˆ์€ ๋งˆ์น˜ ์‹œ๊ฐ„์ด ์ •์ง€ํ•œ ์šฐ์ฃผ ํ•œ๊ฐ€์šด๋ฐ์—์„œ ์Šค์Šค๋กœ ์ฐฐ๋‚˜์  ์กด์žฌ์ž„์„ ๋ฐœ๊ฒฌํ•˜๊ฒŒ ๋œ ๋Š๋‚Œ์ด๋‹ค.

์ •์ •ํ˜ธ ์ž‘๊ฐ€์˜ ์‚ฌ์ง„์—์„œ๋Š” ๋ฌผ, ๋ˆˆ, ์–ผ์Œ์ฒ˜๋Ÿผ ๊ฐ™์€ ๋ฌผ์งˆ์˜ ๋‹ค๋ฅธ ์–‘ํƒœ๋‚˜ ๋‹ค๋ฅธ ์กฐ๊ฑด๋“ค์ด ๋งŒ๋‚œ๋‹ค. ์ด ์‹œ๊ฐ์  ์ธ์ƒ์— ๊ด€ํ•œ ์ธ๊ฐ„ ๊ฐ๊ฐ์˜ ๋ฏธ์„ธํ•œ ๋ณ€ํ™”๋ฅผ ๊ฐ€์žฅ ๊ทน์ ์ธ ์ƒํ™ฉ์œผ๋กœ ์ด๋Œ์–ด๋‚ด๊ณ  ๋ชฐ์ž…ํ•˜๊ฒŒ ํ•˜๋Š” ๋…ํŠนํ•จ์ด ์žˆ๋‹ค. ๊ด€๊ฐ๋“ค์€ ๋ฐฑ์ƒ‰์œผ๋กœ ํ…… ๋น„์›Œ์ง„ ์—ฌ๋ฐฑ ๊ณต๊ฐ„์—์„œ ํ˜น์€ ์ง™์€ ์–ด๋‘  ์†์— ์–ด๋ฅธ๊ฑฐ๋ฆฌ๋Š” ํฌ๋ฏธํ•œ ๋ถˆ๋น›์ด ๋งŒ๋“ค์–ด๋‚ด๋Š” ๋ฉˆ์ถฐ์ง„ ๊ณต๊ฐ„์—์„œ ์‹œ์„ ์ด ์–ด๋Š ์ง€์ ์— ๊ณ ์ •๋˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ๋ฌผ์งˆ์˜ ๊ฒฐ์„ ๋”ฐ๋ผ ํ๋ฅธ๋‹ค๋Š” ๊ฒƒ์„ ์ž๊ฐํ•˜๊ฒŒ ๋œ๋‹ค. ์ด๋‚ด ์‚ฌ๋ฌผ ๊ทธ ์ž์ฒด๋ณด๋‹ค ์‚ฌ๋ฌผ์— ๊ฐ์ถฐ์ง„ ์–ด๋– ํ•œ ํž˜๊ณผ ํ˜ธ์‘ํ•˜๊ณ  ์žˆ๋Š” ์ž์‹ ์„ ๋ณด๋Š” ์—ญ์„ค์ ์ธ ์ƒํ™ฉ์„ ๊ฒฝํ—˜ํ•  ๊ฒƒ์ด๋‹ค. ์ž‘๊ฐ€๊ฐ€ ํฌ์ฐฉํ•ด๋‚ธ ๊ฒฐ๋“ค์€ ์ž์—ฐ์˜ ํ๋ฆ„์ด์ง€๋งŒ ๊ทธ ์†์—๋Š” ์ž์—ฐ ์ด๋ฉด์—์„œ ๋‹ค๊ฐ€์˜ค๋Š” ๋ฏธ๋ฌ˜ํ•œ ๊ฐ๊ฐ๋“ค์ด ์กด์žฌํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

์ •์ •ํ˜ธ ์ž‘๊ฐ€๊ฐ€ ๋ฌผ์งˆ์˜ ์ฐฐ๋‚˜์ ์ธ ์ˆœ๊ฐ„์„ ์‹œ๊ฐ์ ์œผ๋กœ ํฌ์ฐฉํ•ด๋‚ด๋Š” ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด์— ์‹ฌ์ทจํ•˜๊ฒŒ ๋œ ๊ฒƒ์€ ์‚ฌ์ง„์ด ๋ฌผ์งˆ๊ณผ ๋ฌผ์งˆ์  ์กฐ๊ฑด์ด ๋งŒ๋‚  ๋•Œ๋งˆ๋‹ค์˜ ๋ฏธ์„ธํ•œ ๋ณ€ํ™”์™€ ๊ทธ๋กœ๋ถ€ํ„ฐ ๋ฐœํ˜„๋˜๋Š” ๊ฐ๊ฐ์  ์š”์†Œ๋“ค์„ ๊ฐ€์žฅ ์ž˜ ๊ณ ์ •์‹œํ‚ค๋Š” ๋„๊ตฌ์ด๊ธฐ ๋•Œ๋ฌธ์ผ ๊ฒƒ์ด๋‹ค. ํ•˜์ง€๋งŒ ์ตœ๊ทผ ๊ทธ์˜ ์ƒ๊ฐ์€ ํ•œ ์ฐจ์› ๋” ์ง„๋ณดํ•˜๊ณ  ์žˆ๋‹ค. ์ด์ „์˜ ๊ด€์กฐ์ ์ธ ์‹œ์„ ์„ ๋„˜์–ด์„œ ๋” ๋ฐ€์ ‘ํ•˜๊ฒŒ ๋Œ€์ƒ์— ๋‹ค๊ฐ€๊ฐ€๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์ž‘๊ฐ€๋Š” ๋ฌผ์งˆ๊ณผ ์ž‘๊ฐ€์˜ ๊ฑฐ๋ฆฌ๋ฅผ ์†Œ๊ฑฐ์‹œ์ผœ ๋ฌผ์งˆ์ด๋ผ๋Š” ๋Œ€์ƒ๊ณผ ์ž์‹ ์˜ ์ •์‹ ์ด ํ•œ ํ๋ฆ„ ์†์—์„œ ๋งŒ๋‚˜๋Š” ๊ทธ ์ง€์ ์˜ ์‚ฌ์ง„์˜ ์—ญํ• ์— ๋Œ€ํ•ด ์ฃผ๋ชฉํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ ๊ฐ™๋‹ค. ์ฆ‰ ์‚ฌ์ง„์€ ํ•˜๋‚˜์˜ ๋งค์ฒด๊ฐ€ ์•„๋‹ˆ๋ผ ์ž‘๊ฐ€์˜ ๋ˆˆ์ด ๋˜๊ณ  ์žˆ์œผ๋ฉฐ, ์ด์ œ ์‚ฌ์ง„์€ ์ž‘๊ฐ€ ์ž์‹ ์ผ ์ˆ˜๋„ ์žˆ๋Š” ๊ฒƒ์ด๋‹ค.

๊ฒฐ๊ตญ ์ž‘๊ฐ€๋Š” ์‚ฌ์ง„์ด๋ผ๋Š” ๋งค์ฒด๋ฅผ ํ†ตํ•œ โ€˜๋ณด๊ธฐโ€™ ํ˜น์€ โ€˜์‚ฌ์œ ํ•˜๊ธฐโ€™๋ฅผ ํ†ตํ•˜์—ฌ ์ž์‹ ์ด ์‚ฌ์ง„๊ณผ ๊ฐ™์€ ๋ฐฉ์‹์œผ๋กœ ์‚ฌ๋ฌผ์„ ๋ณด๊ณ  ์‚ฌ์œ ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ ๋™์‹œ์— ์‚ฌ์ง„์ฒ˜๋Ÿผ ์„ธ๊ณ„๋ฅผ ๋ณด๋Š” ์‹œ์„ ์ด ์ž‘๊ฐ€ ์ž์‹ ์ด์—ˆ์Œ์„ ๋ฐœ๊ฒฌํ•˜๋ฉด์„œ ๋‹ค์‹œ๊ธˆ ๋ฌผ์งˆ์˜ ํ‘œํ”ผ์— ํ๋ฅด๋Š” ๊ฒฐ์— ๋Œ€ํ•ด ์ง‘์ค‘ํ•˜๊ฒŒ ๋œ๋‹ค. ๊ฒฐ์˜ ํ๋ฆ„์ด ์ž์‹ ์˜ ์ •์‹  ํ๋ฆ„๊ณผ ๋‹ค๋ฅด์ง€ ์•Š์œผ๋ฉฐ ๊ทธ๊ณณ์— ์„ธ๊ณ„๊ฐ€ ์žˆ๊ณ  ์ž์‹ ์ด ์žˆ์—ˆ์Œ์„, ์‚ฌ์ง„์  ๋ฐฉ์‹์˜ ๊ณต๊ฐ„ ํ”์ ์„ ํ†ตํ•˜์—ฌ ๋ณด์—ฌ์ฃผ๊ณ ์ž ํ•˜๋Š” ๊ฒƒ ๊ฐ™๋‹ค.
๊ทธ๋ž˜์„œ ์ด์ œ ๊ทธ์˜ ์ž‘ํ’ˆ์—์„œ๋Š” ํ…… ๋น„์›Œ์ ธ ์†Œ์Œ๋„ ์‚ฌ๋ผ์ง„ ์ ๋ง‰ํ•œ ๊ณต๊ฐ„, ๊ทธ๋ฆฌ๊ณ  ์‹œ๊ฐ„์กฐ์ฐจ ๋ฉˆ์ถฐ๋ฒ„๋ฆฐ ์ฃฝ์Œ ๊ฐ™์€ ๊ณต๊ฐ„ ์•ˆ์—์„œ ํŠน์ •ํ•œ ๋ฌผ์งˆ์ด๋‚˜ ํ˜•์ƒ์ด ์•„๋‹ˆ๋ผ, ์ฒ ์ €ํ•˜๊ฒŒ ํ™€๋กœ ๋ˆˆ๋–  ์ž์‹ ์ด ๋ฐœ๊ฒฌํ•œ ์‚ฌ๋ฌผ์— ์ดˆ์ ์„ ๋งž์ถ”๊ณ  ์žˆ๋Š” ์ž‘๊ฐ€์˜ ๋ˆˆ ๊ทธ ์ž์ฒด๋ฅผ ๋งŒ๋‚˜๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค.


On the Chaosmos of Black and White
(By Yoo Heon-sik, Literature-Art Critic, Dankook University Professor)

What we above all take note of is change in black and white forms. Starting from a black agile dot reminiscent of โ€˜ohmโ€™, the primal sound of the universe, Jung Jung-hoโ€™s work features black ovals, and finally shows concrete tree shapes. The transition in Jungโ€™s photographic work coincidently follows the basic movement of Tao, or way, or principle: โ€œThe Tao produced One; One produced Two; Two produced Three; Three produced All things.โ€(Chapter 42, Tao Te Ching by Laozi)

If we define Tao as nothingness, one concentric circle refers to the emergence of One; the two circles to the creation and expansion of Two; and three circles to the emergence and expansion of Three. Diverse physical aspects of the Three, that is, the results of change in all things are subsequently appearing in his tree images. As being derived from nothing becomes enriched, the imagery is filled with black. Reversal occurs here. โ€œReturning is the movement of Tao (ๅ่€…้“ไน‹ๅ‹•),โ€(Chapter 40, Tao Te Ching by Laozi). White defeated by black launches its counterattack. As white infiltrates gradually into the territory of black, the whole turns into white. From now on, the feast of white begins. Returning to the world of white, the original ground, the amusement of lines stemming from white flow throughout his scene.

Jungโ€™s works on display at the show are metaphysical, ontological abstract forms. The dynamics between black and white monochromes in the first part can be read as the correlation between nothing and being. Works in the second part are composed of abstract images rendered through contact between white and white up close or far away. The dim lines derived from the contrast between snow(white) and ice(black) and hills capped with snow emerge. Diverse curves are formed through the movement of the border between black and white and encounters of white and white. Even if applying the theme of Hegelโ€™s dialectic: that the creation of being derives from the attractive and repulsive forces of being and nothing, Jungโ€™s work symbolically displays the fact that there is always inter-infiltration between being and nothing, mutual struggle and mutual recognition between something and nothing in creation, and the result returns to white.

Hamletโ€™s shout โ€œTo be, or not to be, that is the questionโ€ refers to the primal nature of human existence. The โ€˜shaking borderโ€™ between black and white is neither chaos nor cosmos, but the two. This thus can be called โ€˜chaosmosโ€™. As the border or chaosmos moves depending on the dynamics of forces, one orients to life, and the other to death. In Jungโ€™s work this appears as morphologic imbalance according to inter-infiltration and dynamics between black and white.

Interpretation of black and white in his work is an issue. According to Wassily Kandinsky, โ€œWhite is an absolute silence full of possibility. This is nothingness before inception and birth.โ€ By contrast, โ€œBlack is nothing without possibility, an eternal silence without future or hope.โ€ This description on black and white almost corresponds to the above interpretation of Jungโ€™s work. White as nothing is the formless source of life and form whereas black as nothing proceeds to extinction as form. As white corresponds to the infinite and black to the finite, the process of returning to white through black signifies the fate of black within white. In this respect we can understand the ontological order of his oeuvre.

The order of black and white can be grasped from a different perspective however: a scene starts from black, and finishes with white as gradually infiltrating white. While the interpretation above is based on the Taoist world-view, this is anchored to the Christian world-view. In Genesis Chapter 1 โ€˜chaosโ€™ and โ€˜darknessโ€™ is nothing or black as the negative ousted by light(white), Logos. That is to say, black is chaos(darkness) in the beginning and not the source of life, whereas white works as the driving force giving rise to life, denying black in connection with light. The two cases see white as the source of life, but the source of existence can be white or black depending on the world view. What perspective does Jung see within the origin of the world?

We take note of not only tension and resonance derived from confrontation and interpenetration between black and white, but self-rupture within black and interrelation between white. Jung seems to use blackโ€™s chromatological meaning mixed with its ontological meaning. If he sees black simply as darkness and death, white as the source of life, no movement appears in black or evil has to emerge from black. However, the rhythm of life is sensed in rupture within black. At the moment black secures the affirmative possibility of life, white loses its ontological meaning, deteriorating to a passive object

White passivity appears in work of the second part reveals only the vague borders of the hills while relying on the white of snow. Jung Jung-ho unconsciously moves to blackโ€™s ontological meaning from its chromatological meaning. Black has the ability of bearing new life in itself as โ€˜an unidentified undefined object(chaos)โ€™. This may be correct in that it corresponds to the black hole and chaos theories in modern physics. We just need to seriously consider in what context we use black and white.
Before photographs could capture natural phenomena abstractly, viewers often used their infinite poetic imagination. Jungโ€™s photographs are highly impromptu and abstract however, the task assigned to the abstract photographer is how to attain objectivity, reducing subjective interpretation, and how to convert the casual into the inevitable. As โ€˜photographyโ€™ relies more heavily on external conditions than other art genres, it is always hard to embody the meaning of inevitability and objectivity in contingency. Jung nonetheless has taken a significant step in raising abstract images captured from nature to objective, inevitable metaphysical forms, anchored to his individual life experience and thought.



ํ‘๋ฐฑ์˜ ์นด์˜ค์Šค๋ชจ์Šค์— ๋Œ€ํ•˜์—ฌ (์œ ํ—Œ์‹, ๋ฌธ์˜ˆ๋น„ํ‰๊ฐ€, ๋‹จ๊ตญ๋Œ€ ๊ต์ˆ˜)


์šฐ์„  ์ฃผ๋ชฉํ•  ๊ฒƒ์€ ํ‘๊ณผ ๋ฐฑ์˜ ํ˜•ํƒœ์˜ ๋ณ€ํ™”์ด๋‹ค. ์‹œ์›(ๅง‹ๆบ)์˜ ์†Œ๋ฆฌ โ€˜์˜ดโ€™(omm)์„ ์—ฐ์ƒ์‹œํ‚ค๋Š” ๋‚ ๋ ตํ•œ ๊ฒ€์€ ์ ์„ ํ•„๋‘๋กœ ํ•˜์—ฌ ๊ฒ€์€ ํƒ€์› ํ˜•ํƒœ๋“ค์ด ์„œ์„œํžˆ ๋ชจ์Šต์„ ๋“œ๋Ÿฌ๋‚ด๋ฉด์„œ ๊ธ‰๊ธฐ์•ผ๋Š” ๋‹ค์†Œ ๊ตฌ์ฒด์ ์ธ ํ˜•ํƒœ์˜ ๋‚˜๋ฌด ๋ชจ์Šต์œผ๋กœ ๋ณ€ํ•œ๋‹ค. ์ •์ •ํ˜ธ ์‚ฌ์ง„์˜ ์ „๋ฐ˜๋ถ€์—์„œ ๋“œ๋Ÿฌ๋‚˜๋Š” ์ด ๊ณผ์ •์€ ์šฐ์—ฐ์น˜ ์•Š๊ฒŒ ํ˜น์€ ๊ณต๊ต๋กญ๊ฒŒ๋„ โ€˜๋„(้“)โ€™์˜ ๊ธฐ๋ณธ์ ์ธ ์›€์ง์ž„์— ๋”ฐ๋ฅธ๋‹ค. โ€œ้“็”Ÿไธ€ ไธ€็”ŸไบŒ ไบŒ็”Ÿไธ‰ ไธ‰็”Ÿ่ฌ็‰ฉ(๋„๋Š” ์ผ์„ ๋‚ณ๊ณ  ์ผ์€ ์ด๋ฅผ ๋‚ณ์œผ๋ฉฐ ์ด๋Š” ์‚ผ์„ ๋‚ณ๊ณ  ์‚ผ์€ ๋งŒ๋ฌผ์„ ๋‚ณ๋Š”๋‹ค)โ€(๋…ธ์ž, ๋„๋•๊ฒฝ, 42์žฅ)
์•„๋ฌด ๊ฒƒ๋„ ์—†๋Š” ๋ณธ๋ฐ”ํƒ•(็„ก)์„ ๋„(้“)๋ผ ํ•  ๊ฒฝ์šฐ ํ•œ ๊ฐœ์˜ ๋™์‹ฌ์›์€ ไธ€์˜ ์ถœํ˜„, ๋‘ ๊ฐœ์˜ ๋™์‹ฌ์›์€ ไบŒ์˜ ์ƒ์„ฑ๊ณผ ํ™•์žฅ ๊ทธ๋ฆฌ๊ณ  ์„ธ ๊ฐœ์˜ ๋™์‹ฌ์›์€ ไธ‰์˜ ์ถœํ˜„๊ณผ ํ™•์žฅ์ด๋‹ค. ์ด ไธ‰์ด ๋‹ค์–‘ํ•œ ๋ฌผ๋ฆฌ์  ์–‘์ƒ, ์ฆ‰ ์‚ผ๋ผ๋งŒ์ƒ์˜ ๋ณ€ํ™”(็‰ฉๅ€™)๋กœ ๋‚˜ํƒ€๋‚œ ๊ฒฐ๊ณผ๊ฐ€ ๊ทธ ๋‹ค์Œ์— ์ด์–ด์ง€๋Š” ๋‚˜๋ฌด ํ˜•ํƒœ์˜ ์ด๋ฏธ์ง€์ด๋‹ค. ็„ก์—์„œ ์ƒ์„ฑ๋œ ๆœ‰๊ฐ€ ๊ฐ€๋“ํ•ด์ง€๋ฉด์„œ ์ด๋ฏธ์ง€๋Š” ์ด์ œ ๊ฒ€์€ ๋น›์œผ๋กœ ๊ฐ€๋“ ์ฐฌ๋‹ค. ์—ฌ๊ธฐ์„œ ๋ฐ˜์ „(ๅ่ฝ‰)์ด ์ผ์–ด๋‚œ๋‹ค. โ€œๅ่€…้“ไน‹ๅ‹•(๋˜๋Œ์•„๊ฐ€๋Š” ๊ฒƒ์ด ๋„์˜ ์›€์ง์ž„์ด๋‹ค)โ€(๋„๋•๊ฒฝ, 40์žฅ) ้ป‘์—๊ฒŒ ๋ฐ€๋ ธ๋˜ ็™ฝ์˜ ๋ฐ˜๊ฒฉ์ด ์‹œ์ž‘๋œ๋‹ค. ้ป‘์˜ ์˜์—ญ์— ์„œ์„œํžˆ ็™ฝ์ด ์นจํˆฌํ•˜๋ฉด์„œ ๊ฒฐ๊ตญ ์ „์ฒด๋Š” ็™ฝ์˜ ์ฒœ์ง€๋กœ ํ™”ํ•œ๋‹ค. ์ด์ œ ๋ฐฑ์ƒ‰์˜ ํ–ฅ์—ฐ์ด ์‹œ์ž‘๋œ๋‹ค. ๋ณธ๋ฐ”ํƒ•์ธ ๋ฐฑ์˜ ์„ธ๊ณ„๋กœ ๋ณต๊ท€ํ•˜๋ฉด์„œ ๋ฐฑ์ƒ‰๋ผ๋ฆฌ ์ž์•„๋‚ด๋Š” ์„ ์˜ ์œ ํฌ๊ฐ€ ์ „๋ฉด์— ํ๋ฅธ๋‹ค.

์ •์ •ํ˜ธ์˜ ์ด๋ฒˆ ์ „์‹œ์ž‘ํ’ˆ๋“ค์€ ํ˜•์ด์ƒํ•™์ด๊ณ  ์กด์žฌ๋ก ์ ์ธ ์ถ”์ƒ์ฒด์ด๋‹ค. ํŠนํžˆ ์ „๋ฐ˜๋ถ€์˜ ์ž‘ํ’ˆ๋“ค์—๊ฒŒ์„œ ๋‚˜ํƒ€๋‚˜๋Š” ๋ฐฑ๊ณผ ํ‘์˜ ๋ฌด์ฑ„์ƒ‰์˜ ์—ญํ•™๊ด€๊ณ„๋Š” ็„ก์™€ ๆœ‰์˜ ์ƒ๊ด€๊ด€๊ณ„๋กœ ์ฝ์„ ์ˆ˜ ์žˆ์œผ๋ฉฐ, ํ›„๋ฐ˜๋ถ€์˜ ์ž‘ํ’ˆ๋“ค์€ ํ˜•ํƒœ๋ฅผ ๊ฒฐ์—ฌํ•œ ์ฑ„ ์ˆœ์ „ํžˆ ๋ฐฑ๊ณผ ๋ฐฑ์ด ์›๊ทผ์œผ๋กœ ์ ‘์ด‰ํ•˜์—ฌ ๊ตฌ์„ฑํ•˜๋Š” ์ถ”์ƒ์  ์ด๋ฏธ์ง€์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ฌผ์งˆ์ ์œผ๋กœ๋Š” ๊ฐ•์— ์Œ“์ธ ๋ˆˆ(็™ฝ)๊ณผ ์–ผ์Œ(้ป‘)์˜ ๋Œ€๋น„ ๊ทธ๋ฆฌ๊ณ  ์˜จํ†ต ๋ˆˆ์œผ๋กœ ๋ฎ์ธ ๊ตฌ๋ฆ‰๋“ค์—์„œ ๋น„๋กฏํ•˜๋Š” ํฌ๋ฏธํ•œ ์„ ์˜ ํ˜•์ƒ๋งŒ์ด ์‹œ์„ ์— ๋“ค์–ด์˜จ๋‹ค. ๋ฐฑ๊ณผ ํ‘์˜ ๊ฒฝ๊ณ„๊ฐ€ ์ด๋™ํ•˜๋ฉฐ ๋ฐฑ๊ณผ ๋ฐฑ์ด ๋งŒ๋‚˜ ๋‹ค์–‘ํ•œ ๊ณก์„ ์„ ์ด๋ฃฌ๋‹ค. ์กด์žฌ๊ณ„์˜ ์ƒ์„ฑ์€ ๆœ‰์™€ ็„ก์˜ ์ธ๋ ฅ(ๅผ•ๅŠ›)๊ณผ ์ฒ™๋ ฅ(ๆ–ฅๅŠ›)์—์„œ ๋น„๋กฏํ•œ๋‹ค๋Š” ํ—ค๊ฒ” ๋ณ€์ฆ๋ฒ•์˜ ํ…Œ์ œ๋ฅผ ๋Œ์–ด๋“ค์ด์ง€ ์•Š๋”๋ผ๋„ ์ƒ์„ฑ์˜ ํ˜„์ƒ์—๋Š” ํ•ญ์ƒ โ€˜ๆœ‰์™€ ็„ก์˜ ์‚ผํˆฌโ€™ ์ฆ‰ ์žˆ์Œ๊ณผ ์—†์Œ์˜ ์ƒํ˜ธํˆฌ์Ÿ๊ณผ ์ƒํ˜ธ์ธ์ •์ด ์ž๋ฆฌ์žก๊ณ  ์žˆ์œผ๋ฉฐ ๊ทธ ๊ฒฐ๊ณผ๋Š” ็™ฝ์œผ๋กœ ๊ท€์ผ(ๆญธไธ€)ํ•œ๋‹ค๋Š” ์‚ฌ์‹ค์„ ์ •์ •ํ˜ธ์˜ ์ž‘ํ’ˆ์€ ์ƒ์ง•์ ์œผ๋กœ ๋ณด์—ฌ์ค€๋‹ค.

โ€œ์žˆ์„ ๊ฒƒ์ธ๊ฐ€ ์—†์„ ๊ฒƒ์ธ๊ฐ€? ๊ทธ๊ฒƒ์ด ๋ฌธ์ œ๋‹ค!โ€๋ผ๊ณ  ์™ธ์น˜๋Š” ํ–„๋ฆฟ์˜ ์ ˆ๊ทœ๋Š” ๋ฐ”๋กœ ๊ฒฝ๊ณ„์—์„œ ํ”๋“ค๋ฆฌ๋Š” ์ธ๊ฐ„์กด์žฌ์˜ ์›์ดˆ์  ์‹ค์ƒ์„ ๊ทธ๋ฆฌ๊ณ  ์žˆ๋‹ค. ํ‘๊ณผ ๋ฐฑ ์‚ฌ์ด์—์„œ โ€˜ํ”๋“ค๋ฆฌ๋Š” ๊ฒฝ๊ณ„โ€™๋Š” ํ˜ผ๋ˆ(chaos)๋„ ์•„๋‹ˆ๊ณ  ์งˆ์„œ(cosmos)๋„ ์•„๋‹ˆ์ง€๋งŒ ๋˜ํ•œ ์ด ์–‘์ž์ด๊ธฐ๋„ ํ•˜๋‹ค. ๊ทธ๋ž˜์„œ ๊ทธ๊ฒƒ์€ ์นด์˜ค์Šค ์†์˜ ์ฝ”์Šค๋ชจ์Šค๋ฅผ ์˜๋ฏธํ•˜๋Š” โ€˜์นด์˜ค์Šค๋ชจ์Šค(chaosmos)โ€™๋ผ ๋ถ€๋ฅผ ์ˆ˜ ์žˆ๋‹ค. ๊ฒฝ๊ณ„ ํ˜น์€ ์นด์˜ค์Šค๋ชจ์Šค๊ฐ€ ํž˜์˜ ์—ญํ•™๊ด€๊ณ„์— ์˜ํ•ด ์ด๋™ํ•˜๋ฉด์„œ ํ•œ ์ชฝ์€ ์‚ถ์˜ ๋ฐฉํ–ฅ์œผ๋กœ ๋‹ค๋ฅธ ํ•œ ์ชฝ์€ ์ฃฝ์Œ์˜ ๋ฐฉํ–ฅ์œผ๋กœ ์›€์ง์ธ๋‹ค. ์ •์ •ํ˜ธ์˜ ์ž‘ํ’ˆ์—์„œ ์ด๋Š” ็™ฝ๊ณผ ้ป‘์˜ ์ƒํ˜ธ์นจํˆฌ์™€ ์—ญํ•™๊ด€๊ณ„์— ๋”ฐ๋ฅธ ํ˜•ํƒœ์ƒ์˜ ๋ถˆ๊ท ํ˜•์œผ๋กœ ๋‚˜ํƒ€๋‚œ๋‹ค.

๊ทธ๋Ÿฐ๋ฐ ์ž‘ํ’ˆ์— ๋‚˜ํƒ€๋‚œ โ€˜็™ฝโ€™๊ณผ โ€˜้ป‘โ€™์˜ ํ•ด์„์ด ๋ฌธ์ œ๊ฐ€ ๋œ๋‹ค. ํฐ์ƒ‰์€ ์นธ๋”˜์Šคํ‚ค์— ๋”ฐ๋ฅด๋ฉด โ€œ๊ฐ€๋Šฅ์„ฑ์œผ๋กœ ์ฐฌ ์นจ๋ฌต์œผ๋กœ์„œ, ์‹œ์ž‘ํ•˜๊ธฐ ์ „์˜ ็„ก์ด๋ฉฐ ํƒœ์–ด๋‚˜๊ธฐ ์ „์˜ ็„กโ€์ธ๋ฐ ๋ฐ˜ํ•ด, ๊ฒ€์€์ƒ‰์€ โ€œ๊ฐ€๋Šฅ์„ฑ์ด ์—†๋Š” ็„ก์ด๋ฉฐ, ๋ฏธ๋ž˜์™€ ํฌ๋ง์ด ์—†๋Š” ์˜์›ํ•œ ์นจ๋ฌตโ€์ด๋‹ค. ํฐ์ƒ‰๊ณผ ๊ฒ€์€์ƒ‰์— ๋Œ€ํ•œ ์ด๋Ÿฌํ•œ ์„ค๋ช…์€ ์ •์ •ํ˜ธ์˜ ์ž‘ํ’ˆ์— ๋Œ€ํ•œ ์•ž์˜ ํ•ด์„๊ณผ ๊ฑฐ์˜ ์ผ์น˜ํ•œ๋‹ค. ็„ก๋กœ์„œ์˜ ํฐ์ƒ‰์€ ์ƒ๋ช…๊ณผ ํ˜•ํƒœ์˜ ๋ฌด์ •ํ˜•์ ์ธ ๊ทผ์›์ด๊ณ  ็„ก๋กœ์„œ์˜ ๊ฒ€์€์ƒ‰์€ ํ˜•ํƒœ ์ง€์–ด์ง„ ๊ฒƒ์œผ๋กœ์„œ ์†Œ๋ฉธ์„ ํ–ฅํ•ด ๋‚˜์•„๊ฐ„๋‹ค. ์š”์ปจ๋Œ€ ํฐ์ƒ‰์—๋Š” ๋ฌดํ•œ์ด, ๊ฒ€์€์ƒ‰์—๋Š” ์œ ํ•œ์ด ์ƒ์‘ํ•˜๋ฉด์„œ ็™ฝ์—์„œ ้ป‘์„ ๊ฑฐ์ณ ็™ฝ์œผ๋กœ ๋ณต๊ท€ํ•˜๋Š” ๊ณผ์ •์€ ็™ฝ ์•ˆ์—์„œ์˜ ้ป‘์˜ ์šด๋ช…์„ ๊ทธ๋ฆฐ๋‹ค๋Š” ์ ์—์„œ ์ž‘ํ’ˆ ์ „์ฒด๋ฅผ ์กด์žฌ์ ์ธ ์„ ํ›„(ๅ…ˆๅพŒ)๊ด€๊ณ„๋กœ ์ดํ•ดํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋œ๋‹ค.

ํ•˜์ง€๋งŒ ํ‘๊ณผ ๋ฐฑ์˜ ์„ ํ›„๊ด€๊ณ„๋ฅผ ๋‹ค๋ฅธ ์‹œ๊ฐ์—์„œ ํŒŒ์•…ํ•  ์ˆ˜๋„ ์žˆ๋‹ค. ้ป‘์—์„œ ์ถœ๋ฐœํ•˜์—ฌ ์„œ์„œํžˆ ็™ฝ์— ์˜ํ•ด ์นจํˆฌ๋˜๋ฉด์„œ ๊ฒฐ๊ตญ ็™ฝ์œผ๋กœ ๋งˆ๊ฐํ•˜๋Š” ๊ณผ์ •์ด๋‹ค. ์•ž์˜ ํ•ด์„์ด ๋™์–‘์˜ ๋„๊ฐ€์  ์„ธ๊ณ„๊ด€์— ์ž…๊ฐํ•ด ์žˆ๋‹ค๋ฉด ์ง€๊ธˆ์˜ ํ•ด์„์€ ์„œ์–‘์˜ ๊ธฐ๋…๊ต์  ์„ธ๊ณ„๊ด€์— ์ž…๊ฐํ•œ ํ•ด์„์ด๋ผ ํ•  ์ˆ˜ ์žˆ๋‹ค. ์„ฑ์„œ ์ฐฝ์„ธ๊ธฐ 1์žฅ์˜ โ€˜ํ˜ผ๋ˆโ€™๊ณผ โ€˜ํ‘์•”โ€™์€ ็„ก, ์ฆ‰ ้ป‘์œผ๋กœ์„œ ํ•˜๋‚˜๋‹˜์˜ ๋ง์”€์ธ ๋น›(็™ฝ)์— ์˜ํ•ด ์ถ•์ถœ๋˜๋Š” ๋ถ€์ •์ ์ธ ๊ฒƒ์ด๋‹ค. ๋‹ค์‹œ ๋งํ•˜๋ฉด ้ป‘์€ ์‹œ์ดˆ์˜ ํ˜ผ๋ˆ(์–ด๋‘ )์ผ ๋ฟ ์ƒ๋ช…์˜ ์ถœ์ฒ˜๊ฐ€ ์•„๋‹ˆ๋ฉฐ ็™ฝ์€ ๋น›๊ณผ ์—ฐ๊ด€๋˜์–ด ์‹œ์ดˆ์˜ ้ป‘์„ ๋ถ€์ •ํ•˜์—ฌ ์ƒ๋ช…์„ ๋‚ณ๋Š” ์›๋™๋ ฅ์œผ๋กœ ์ž‘์šฉํ•œ๋‹ค. ๋‘ ๊ฒฝ์šฐ ๋ชจ๋‘ ็™ฝ์ด ์ƒ๋ช…์˜ ์›์ฒœ์ด๋ผ๋Š” ์ ์—์„œ๋Š” ๊ฐ™์œผ๋‚˜ ์กด์žฌ์˜ ์‹œ์›์„ ็™ฝ์œผ๋กœ ๋ณผ ๊ฒƒ์ธ์ง€ ้ป‘์œผ๋กœ ๋ณผ ๊ฒƒ์ธ์ง€๋Š” ์–ด๋–ค ์„ธ๊ณ„๊ด€์œผ๋กœ ์ ‘๊ทผํ•˜๋Š๋ƒ์— ๋”ฐ๋ผ ๋‹ฌ๋ผ์ง„๋‹ค. ์ •์ •ํ˜ธ๋Š” ๊ณผ์—ฐ ์–ด๋–ค ๊ด€์ ์—์„œ ์„ธ๊ณ„์˜ ์‹œ์›์„ ๋ณด๊ณ ์ž ํ•œ ๊ฒƒ์ผ๊นŒ?

์ „์ฒด์ ์œผ๋กœ๋Š” ้ป‘๊ณผ ็™ฝ์˜ ๋Œ€๋ฆฝ์ ์ด๋ฉด์„œ ์ƒํ˜ธ์นจํˆฌํ•˜๋Š” ๊ฒฝ๊ณ„์˜ ๊ธด์žฅ๊ณผ ๊ทธ์— ๋”ฐ๋ฅธ ์šธ๋ฆผ์— ์ฃผ๋ชฉํ•˜๊ฒŒ ๋˜์ง€๋งŒ, ๋‹ค๋ฅธ ํ•œํŽธ์œผ๋กœ๋Š” ้ป‘ ์•ˆ์—์„œ์˜ ์ž๊ธฐ ๊ท ์—ด๊ณผ ็™ฝ๋ผ๋ฆฌ์˜ ์ƒํ˜ธ๊ด€๊ณ„ ๋˜ํ•œ ์ฃผ๋ชฉํ•˜์ง€ ์•Š์„ ์ˆ˜ ์—†๋‹ค. ์—ฌ๊ธฐ์„œ ์ •์ •ํ˜ธ๋Š” ้ป‘์ด ์ง€๋‹Œ ์ƒ‰์ฑ„๋ก ์ ์ธ ์˜๋ฏธ์™€ ์กด์žฌ๋ก ์ ์ธ ์˜๋ฏธ๋ฅผ ํ˜ผ์šฉํ•˜๊ณ  ์žˆ๋Š” ๋“ฏํ•˜๋‹ค. ๊ทธ๊ฐ€ ้ป‘์„ ๋‹จ์ˆœํžˆ ์•”ํ‘๊ณผ ์ฃฝ์Œ์œผ๋กœ๋งŒ ํŒŒ์•…ํ•˜๊ณ  ็™ฝ์„ ์ˆœ์ „ํžˆ ์ƒ๋ช…์˜ ๊ทผ์›์œผ๋กœ๋งŒ ํŒŒ์•…ํ–ˆ๋‹ค๋ฉด, ้ป‘์—์„œ๋Š” ์‚ฌ์‹ค์ƒ ์›€์ง์ž„์ด ์—†๊ฑฐ๋‚˜ ์ˆœ์ „ํžˆ ๋ถ€์ •์ ์ธ ์˜๋ฏธ์ฒด, ์ด๋ฅผํ…Œ๋ฉด ์•…(ๆƒก)์ด ๋“œ๋Ÿฌ๋‚˜์•ผ ํ•œ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ๊ทธ์˜ ์ž‘ํ’ˆ์— ๋“œ๋Ÿฌ๋‚œ ้ป‘ ์•ˆ์—์„œ๋Š” ๊ท ์—ด ํ˜น์€ ํŒŒ์—ด(็ ด๏ฆ )์„ ํ†ตํ•œ ์ƒ๋ช…์˜ ์œจ๋™์ด ๋ณด์ธ๋‹ค. ้ป‘ ์ž์ฒด๊ฐ€ ์ƒ๋ช…์˜ ๊ธ์ •์ ์ธ ๊ฐ€๋Šฅ์„ฑ์„ ํš๋“ํ•˜๋Š” ์ˆœ๊ฐ„ ็™ฝ์€ ์ˆ˜๋™์ ์ธ ๊ฐ์ฒด๋กœ ์ „๋ฝํ•˜์—ฌ ์กด์žฌ๋ก ์ ์ธ ์˜๋ฏธ๋ฅผ ์ƒ์‹คํ•˜๊ฒŒ ๋œ๋‹ค.

็™ฝ์˜ ์ˆ˜๋™์„ฑ์€ ์ „์‹œ์ž‘ํ’ˆ ๊ฐ€์šด๋ฐ ํ›„๋ฐ˜๋ถ€ ์ž‘์—…์ด ์ฃผ๋กœ ๋ˆˆ(้›ช)์˜ ๋ฐฑ์ƒ‰์— ์˜์กดํ•˜๋ฉด์„œ๋„ ๋ˆˆ ๋ฎ์ธ ๊ตฌ๋ฆ‰๋“ค์˜ ํฌ๋ฏธํ•œ ๊ฒฝ๊ณ„๋งŒ ๋“œ๋Ÿฌ๋‚  ๋ฟ ๋ˆˆ ์ž์ฒด๋Š” ์•„๋ฌด๋Ÿฐ ๋ฏธ๋™๋„ ๋ณด์ด์ง€ ์•Š๋Š”๋‹ค๋Š” ๋ฐ์—์„œ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ์—ฌ๊ธฐ์„œ ์ •์ •ํ˜ธ๋Š” ์ž์‹ ๋„ ๋ชจ๋ฅด๊ฒŒ ้ป‘์˜ ์ƒ‰์ฑ„๋ก ์ ์ธ ์˜๋ฏธ๋ฅผ ๋– ๋‚˜ ์กด์žฌ๋ก ์ ์ธ ์˜๋ฏธ๋กœ ๊ฐˆ์•„ํƒ€๊ณ  ์žˆ๋‹ค. ์กด์žฌ๋ก ์ ์œผ๋กœ ํ‘์ƒ‰์€ โ€˜์†์„ ์•Œ ์ˆ˜ ์—†๋Š” ๋ฌด๊ทœ์ •์ฒด(์นด์˜ค์Šค)โ€™๋กœ์„œ ์ž์ฒด์ ์œผ๋กœ ์ƒ๋ช…์„ ์ž‰ํƒœํ•˜๋Š” ํž˜์„ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค. ์ด๋Š” ํ˜„๋Œ€ ๋ฌผ๋ฆฌํ•™์˜ ๋ธ”๋ž™ํ™€ ์ด๋ก ์ด๋‚˜ ์นด์˜ค์Šค ์ด๋ก ์—๋„ ๋ถ€ํ•ฉํ•˜๊ธฐ ๋•Œ๋ฌธ์— ์‚ฌ์‹ค๊ด€๊ณ„์—์„œ ํ‹€๋ฆฐ ๊ฒƒ์€ ์•„๋‹ˆ๋‹ค. ๋‹ค๋งŒ ํ‘๊ณผ ๋ฐฑ์„ ์–ด๋–ค ์˜๋ฏธ์—์„œ ์‚ฌ์šฉํ• ์ง€์— ๋Œ€ํ•ด ์ˆ™๊ณ ํ•  ํ•„์š”๊ฐ€ ์žˆ๊ฒ ๋‹ค๋Š” ์ƒ๊ฐ์ด๋‹ค.
์ž์—ฐํ˜„์ƒ์„ ์ถ”์ƒ์ ์œผ๋กœ ํฌ์ฐฉํ•œ ์‚ฌ์ง„ ์•ž์—์„œ ๊ด€๊ฐ์€ ๋ฌดํ•œํ•œ ์‹œ์  ์ƒ์ƒ๋ ฅ์„ ํŽผ์น˜๊ธฐ ๋งˆ๋ จ์ด๋‹ค. ํ•˜์ง€๋งŒ ์ด๋ฒˆ ์ •์ •ํ˜ธ์˜ ์‚ฌ์ง„์ฒ˜๋Ÿผ ์ฆ‰ํฅ์„ฑ์ด ๊ฐ•ํ•˜๋ฉด์„œ๋„ ๊ณ ๋„์˜ ์ถ”์ƒ์„ฑ์„ ๋ค ์ž‘ํ’ˆ์˜ ๊ฒฝ์šฐ, ์–ด๋–ป๊ฒŒ ์ฃผ๊ด€์ ์ธ ํ•ด์„์˜ ์—ฌ์ง€๋ฅผ ์ค„์ด๊ณ  ๊ฐ๊ด€์„ฑ์„ ํ™•๋ณดํ•  ๊ฒƒ์ธ์ง€, ๊ทธ๋ฆฌ๊ณ  ์šฐ์—ฐ์ ์ธ ์‚ฌ๊ฑด์„ ์–ผ๋งˆ๋‚˜ ํ•„์—ฐ์œผ๋กœ ์ „ํ™˜์‹œํ‚ฌ ๊ฒƒ์ธ์ง€๋Š” ์ถ”์ƒ์ ์ธ ์‚ฌ์ง„์ž‘๊ฐ€์˜ ์ˆ™์ œ๊ฐ€ ์•„๋‹ ์ˆ˜ ์—†๋‹ค. โ€˜์‚ฌ์ง„โ€™์€ ๋‹ค๋ฅธ ์˜ˆ์ˆ ์žฅ๋ฅด์— ๋น„ํ•ด ์™ธ๋ถ€์˜ ์šฐ์—ฐ์ ์ธ ์กฐ๊ฑด์— ์˜์กดํ•˜๋Š” ์ •๋„๊ฐ€ ๋†’์€ ๋งŒํผ ์šฐ์—ฐ ์†์—์„œ๋„ ํ•„์—ฐ๊ณผ ๊ฐ๊ด€์˜ ์˜๋ฏธ๋ฅผ ๊ตฌํ˜„ํ•˜๋Š” ์ž‘์—…์€ ๋ถˆ๊ฐ€ํ”ผํ•˜๋ฉด์„œ๋„ ํ•ญ์ƒ ์–ด๋ ต๋‹ค. ๊ทธ๋Ÿฐ๋ฐ๋„ ์ •์ •ํ˜ธ๋Š” ๊ทธ๊ฐ„์˜ ๊ฐœ์ธ์ ์ธ ์‚ถ์˜ ์ฒดํ—˜๊ณผ ์‚ฌ๊ณ ๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ์ž์—ฐ์—์„œ ํฌ์ฐฉํ•œ ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€๋ฅผ ๊ฐ๊ด€์ ์ด๊ณ  ํ•„์—ฐ์ ์ธ ํ˜•์ด์ƒํ•™์˜ ํ˜•ํƒœ๋กœ ์Šนํ™”์‹œํ‚ค๋Š” ๋ฐ ์ค‘๋Œ€ํ•œ ์ผ๋ณด๋ฅผ ๋‚ด๋””๋Ž ๋‹ค.



White: the Color of Birth and Death (By An Hee-yeon, Poet)


This work of Jung Jung-ho is triggered by โ€˜ecstasyโ€™. What lures him is none other than โ€˜whiteโ€™. The images he captured in heavy snow or wandering a snowfield โ€˜cameโ€™ to him in a way impossible to describe. When a scene flies at him as wild waves surge, his hand presses the shutter. The state of the hand pressing the shutter prior to the thinking he engages to take a photograph; the moment of ecstasy without space for intention or calculation ------

Whatโ€™s the identity of this white captivating him? Jung says he photographs the visible and existent. But, why no reference in his photographs to the open and infinite beyond reference? I closely look at his photographs to find an answer. I have a slightly weird experience: sound vanishes as if my ears are cut off with scissors. His images bring me somewhere, a world unknown to me. I am a new-born baby in a world without space and time, like a strange planet. It is well-known that the world a newborn baby sees is different from the one an adult sees. It is said the infant is able to recognize small objects and feel color and distance three or four months after birth. The world is thus only white and black at the moment of birth. Time that remains unidentified eternally as we surely passed through but date back to it ------ I think Jungโ€™s work brings us to such time in the beginning.

There is no form in his work. There is only a spreading. Black smears into white without any boundary, and vice versa. Such images enable us to have a symbolic experience of the world we meet immediately after birth. The high tension between black and white that seems calm but encapsulates enormous energy, a secret time when something is about to come into being after a long stillness ------ Black and white moves as if they are a condition of other being, like both sides of the coin. Dark absorbing light and the light ousting dark is here. A tree at last comes into being after such a fierce time.

The โ€˜treeโ€™ is the only subject of these photographs. This tree undergoes cold, naked in a snowing barren land. While previous images refer to a world reflected onto a newborn babyโ€™s eyes, this โ€˜treeโ€™ reminds us of humanityโ€™s a priori isolation and precariousness of being. The trees stand in their own distinctive pose, but stand like scrawny humans. The trees cannot sit or lie down. Like the ash of being, snow falls on them. In this respect white is vehement and fearful. It can bury one without attracting attention. This covering is another name for death. The โ€˜treesโ€™ buried in heavy snow are like dying men who die immediately after birth. The trees show how aliveness is precarious and lonely in a way of saying nothing.

As of now, his images advance in the two directions of โ€˜ruptureโ€™ and โ€˜extinctionโ€™. Tension between black and white that has been consistently maintained in Tension in Black becomes more intense and its dynamism is reinforced in White from Black and Black and White. The moment of โ€˜splitโ€™ that is weak in his early work vastly spreads across throughout the canvas. The imagery of such rupture is reminiscent of the underlying, inherent anxiety of human existence. Jung knows well the horizon of our life is not a solid land but a precarious space like a thin sheet of ice.

When the world on which we live collapses as it couldnโ€™t withstand the weight of our existence, we will be sucked down into the world without having time to cry out. Cracks gulping us up ---- โ€œThere are so many holes toward oblivion in our spirit.โ€ (The Aleph by Jorge Luis Borges). As in Borgesโ€™ phrase, the hole slowly opening its mouth to suck us is an abyss immeasurable with time. This is also someoneโ€™s distant cracked eye with an inherent soundless fear.

White at last covers black by melding its own body. The series White Utterance consisting of the third section shows different scenes but is actually just one scene. As soon as I see these images, I delude myself that I am in a white desert. A desert shows no traces of those who passed there, which is the way of its existence. Swept and deleted by the wind without resistance is the most intense metaphor for extinction. The ever-changing world, the indescribable world of dim feelings ------- The world we are facing is perhaps just a mirage or a vacant illusion.

Jungโ€™s white encapsulates a dim distance from birth to death. His white covers the world a newborn baby sees for the first time after the birth, human existenceโ€™s isolation and precariousness, and the violence and fear of death reducing all to nothing. What Jung tries to find in a snowfield is the ontological imagery of โ€˜humanityโ€™ and โ€˜life and deathโ€™. Like the titles of Paul Gauguinโ€™s paintings such as Where Do We Come from? What Are We? Where Are We Going? (Dou Vnons Nous? Que Sommes Nous? Ou Allons Nous?), he seems captured by white to question his existence without knowing what it truly means.

Here is a collection of poems entitled White Utterance. At the moment you open the first page, you go somewhere. Nobody knows where and when it is. After closing the last page, you cannot be what you were. That is why something unexplainable yet familiar is there, and you fall into the profound depths of birth and death.



็™ฝ : ํƒ„์ƒ๊ณผ ์ฃฝ์Œ์˜ ์ƒ‰ (์•ˆํฌ์—ฐ, ์‹œ์ธ)


์ •์ •ํ˜ธ์˜ ์ด๋ฒˆ ์ž‘์—…์€ ์–ด๋–ค โ€˜ํ™€๋ฆผ(ecstasy)โ€™์œผ๋กœ๋ถ€ํ„ฐ ์‹œ์ž‘๋œ๋‹ค. ํ•œ์ฐจ๋ก€ ํญ์„ค์ด ์ง€๋‚˜๊ฐ„ ๋’ค, ํ˜น์€ ํญ์„ค์˜ ํ•œ๊ฐ€์šด๋ฐ์„œ, ๊ทธ๋Š” ๋ฐ˜์ฏค ๋ฏธ์นœ ์‚ฌ๋žŒ์ฒ˜๋Ÿผ ๋ˆˆ๋ฐญ์„ ํ•ด๋งค๊ณ  ๋‹ค๋…”๋‹ค. ๋ฌด์—‡์„ ์ฐ์–ด์•ผ๊ฒ ๋‹ค๋Š” ์ƒ๊ฐ ์—†์ด, ๊ทธ์ € ๋ฐฑ์ƒ‰(็™ฝ่‰ฒ)์— ์••๋„๋˜์–ด, ๋ˆˆ ์†์— ํ•˜๋ฐ˜์‹ ์ด ํŒŒ๋ฌปํžˆ๋Š” ์ผ๋„ ๋งˆ๋‹ค ์•Š๊ณ  ์ •์‹ ์—†์ด ์…”ํ„ฐ๋ฅผ ๋ˆŒ๋Ÿฌ๋Œ”๋‹ค. ์‚ฌ์ง„์„ ์ฐ์–ด์•ผ๊ฒ ๋‹ค๋Š” ์ƒ๊ฐ ์ด์ „์— ์‚ฌ์ง„์„ ์ฐ๊ณ  ์žˆ๋Š” ์†์ด ์žˆ๋Š” ์ƒํƒœ. ์˜๋„๋‚˜ ๊ณ„์‚ฐ์ด ๋ผ์–ด๋“ค ํ‹ˆ ์—†๋Š” โ€˜ํ™€๋ฆผโ€™์˜ ์ˆœ๊ฐ„.

๊ทธ๋ฅผ ์‚ฌ๋กœ์žก์€ ์ด ๋ฐฑ(็™ฝ)์˜ ์ •์ฒด๋Š” ๋ฌด์—‡์ผ๊นŒ. ๊ทธ๋Š” ๋ถ„๋ช… ๋ณด์ด๋Š” ๊ฒƒ์„, ์กด์žฌํ•˜๋Š” ๊ฒƒ์„ ์ฐ์—ˆ๋‹ค๊ณ  ํ–ˆ๋Š”๋ฐ ์™œ ๊ทธ์˜ ์‚ฌ์ง„์€ ์•„๋ฌด๊ฒƒ๋„ ์ง€์‹œํ•˜์ง€ ์•Š๊ณ , ์˜ค๋กœ์ง€ ๊ทธ ๋„ˆ๋จธ๋ฅผ ํ–ฅํ•ด์„œ๋งŒ ๋ฌดํ•œํžˆ ์—ด๋ ค ์žˆ๋Š” ๊ฒƒ์ผ๊นŒ. ๋‚˜๋Š” ์ด ์˜๋ฌธ์— ๋Œ€ํ•œ ๋‹ต์„ ์ฐพ๊ธฐ ์œ„ํ•ด ๊ทธ์˜ ์‚ฌ์ง„์„ ๊ณฐ๊ณฐ ๋“ค์—ฌ๋‹ค๋ณด์•˜๋‹ค. ๊ทธ๋Ÿฌ์ž ๋†€๋ž๊ฒŒ๋„, ์กฐ๊ธˆ ์ด์ƒํ•œ ์ฒดํ—˜์„ ํ•˜๊ฒŒ ๋๋‹ค. ๋ˆ„๊ตฐ๊ฐ€ ๊ฐ€์œ„๋ฅผ ๋“ค๊ณ  ๋‚˜์˜ ๊ท€๋ฅผ ์˜ค๋ ค๋ฒ„๋ฆฐ ๊ฒƒ์ฒ˜๋Ÿผ, ๋‚ด๊ฐ€ ๊ฐ๊ฐํ•˜๊ณ  ์žˆ๋˜ ๋ชจ๋“  ์†Œ๋ฆฌ๊ฐ€ ๊ณ ์Šค๋ž€ํžˆ ์‚ฌ๋ผ์ ธ๋ฒ„๋ ธ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ์†Œ๋ฆฌ๋งŒ ์‚ฌ๋ผ์ง„ ๊ฒƒ์ด ์•„๋‹ˆ์—ˆ๋‹ค. ๊ทธ์˜ ์ด๋ฏธ์ง€๋“ค์€ ๋‚˜๋ฅผ ์–ด๋”˜๊ฐ€๋กœ ๋ฐ๋ ค๋‹ค ๋†“์•˜๋‹ค. ๊ทธ๊ณณ์€ ๋‚ด๊ฐ€ ์ตํžˆ ์•Œ๊ณ  ์žˆ๋˜ ์„ธ๊ณ„๊ฐ€ ์•„๋‹ˆ์—ˆ๋‹ค. ์‹œ๊ฐ„๋„ ๊ณต๊ฐ„๋„ ์—†๋Š” ๊ณณ. ๊ถค๋„๋ฅผ ๋ฒ—์–ด๋‚˜ ๋ถˆ์‹œ์ฐฉํ•œ ๋‚ฏ์„  ํ–‰์„ฑ ๊ฐ™์€. ๊ทธ๊ณณ์—์„œ ๋‚˜๋Š” ์ง€๊ธˆ ๋ง‰ ์„ธ์ƒ์— ํƒœ์–ด๋‚˜ ์ฒ˜์Œ์œผ๋กœ ๋ˆˆ์„ ๋œฌ ์•„์ด๊ฐ€ ๋๋‹ค.

๊ฐ“ ํƒœ์–ด๋‚œ ์•„์ด์˜ ๋ˆˆ์— ๋น„์นœ ์„ธ๊ณ„๊ฐ€ ์–ด๋ฅธ์ด ๋ณด๋Š” ์„ธ๊ณ„์™€ ๋‹ค๋ฅด๋‹ค๋Š” ๊ฒƒ์€ ์ตํžˆ ์ž˜ ์•Œ๋ ค์ง„ ์‚ฌ์‹ค์ด๋‹ค. ์ƒํ›„ 3, 4๊ฐœ์›”์ด ๋˜์–ด์„œ์•ผ ๋น„๋กœ์†Œ ์ž‘์€ ๋ฌผ์ฒด๋ฅผ ์•Œ์•„๋ณด๊ธฐ ์‹œ์ž‘ํ•˜๊ณ , ์ƒ‰๊น”์ด๋‚˜ ๊ฑฐ๋ฆฌ๊ฐ์„ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ํ•˜๋‹ˆ, ์„ธ์ƒ์— ํƒœ์–ด๋‚˜ ์šฐ๋ฆฌ๊ฐ€ ๋งŒ๋‚˜๋Š” ์„ธ๊ณ„๋Š” ์˜ค๋กœ์ง€ ํ‘๊ณผ ๋ฐฑ์œผ๋กœ๋งŒ ์กด์žฌํ•  ๋ฟ์ด๋‹ค. ๋ถ„๋ช… ์ง€๋‚˜์™”์ง€๋งŒ ๊ฑฐ์Šฌ๋Ÿฌ ๊ฐˆ ์ˆ˜ ์—†๊ธฐ์— ์˜์›ํžˆ ๋ฏธ์ง€๋กœ ๋‚จ์•„์žˆ๋Š” ์‹œ๊ฐ„๋“ค. ๋‚˜๋Š” ์ •์ •ํ˜ธ์˜ ์ด๋ฒˆ ์ž‘์—…์ด ๊ทธ๋Ÿฐ ํƒœ์ดˆ์˜ ์‹œ๊ฐ„๋“ค๋กœ ์šฐ๋ฆฌ๋ฅผ ๋ฐ๋ ค๊ฐ€๊ณ  ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ๋‹ค.

ํ˜•์ฒด๋Š” ์—†๋‹ค. ๋‹ค๋งŒ ํ•˜์–—๊ฒŒ, ๋ฒˆ์ง€๋Š” ๊ฒƒ๋งŒ์ด ์žˆ๋‹ค. ํ‘์ด ๋ฐฑ์œผ๋กœ, ๋ฐฑ์ด ํ‘์œผ๋กœ, ๊ฒฝ๊ณ„ ์—†์ด ํฉ์–ด์ง€๊ณ  ์Šค๋ฏผ๋‹ค. ๋’ค๋ฎ์ด๊ฑฐ๋‚˜ ๋’ค๋ฎ๋Š”๋‹ค. ์ด๋Ÿฐ ์ด๋ฏธ์ง€๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ์„ธ์ƒ์— ํƒœ์–ด๋‚˜ ์ฒ˜์Œ ๋งˆ์ฃผํ•˜๋Š” ์„ธ๊ณ„์˜ ๋ชจ์Šต์„ ์ƒ์ง•์ ์œผ๋กœ ์ฒดํ—˜์ผ€ ํ•œ๋‹ค. ์ง์ง“ ๊ณ ์š”ํ•ด๋ณด์ด์ง€๋งŒ ์‹ค์€ ์—„์ฒญ๋‚œ ์—๋„ˆ์ง€๋ฅผ ๋‚ด์žฅํ•œ, ํ‘๊ณผ ๋ฐฑ์˜ ํŒฝํŒฝํ•œ ๊ธด์žฅ๊ฐ. ํ‘๊ณผ ๋ฐฑ์€ ๋™์ „์˜ ์–‘๋ฉด์ฒ˜๋Ÿผ, ์„œ๋กœ๊ฐ€ ์„œ๋กœ์˜ ์กด์žฌ์กฐ๊ฑด์ด๋ผ๋Š” ๋“ฏ ์šด๋™ํ•œ๋‹ค. ๋น›์„ ๋นจ์•„๋“ค์ด๋Š” ์–ด๋‘ ์ด, ์–ด๋‘ ์„ ๋ฐ€์–ด๋‚ด๋Š” ๋น›์ด ๊ทธ๊ณณ์— ์žˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Ÿฐ ๊ฒฉ๋ ฌํ•จ์˜ ์‹œ๊ฐ„์„ ๋šซ๊ณ  ํ•˜๋‚˜์˜ โ€˜๋‚˜๋ฌดโ€™๊ฐ€ ํƒ„์ƒํ•œ๋‹ค.

์ด โ€˜๋‚˜๋ฌดโ€™๋Š” ์ด๋ฒˆ ์ž‘์—…์— ์œ ์ผํ•˜๊ฒŒ ๋“ฑ์žฅํ•˜๋Š” ํ”ผ์‚ฌ์ฒด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ด โ€˜๋‚˜๋ฌดโ€™๋Š” ๋ˆˆ ๋‚ด๋ฆฌ๋Š” ๋ถˆ๋ชจ์˜ ๋•…์—์„œ ๋งจ๋ชธ์œผ๋กœ ์ถ”์œ„๋ฅผ ๊ฒช๊ณ  ์žˆ๋‹ค. ์•ž์„  ์ด๋ฏธ์ง€๋“ค์ด ๊ฐ“๋‚œ์•„์ด์˜ ๋ˆˆ(็›ฎ)์— ๋น„์นœ ์ตœ์ดˆ์˜ ์„ธ๊ณ„๋ฅผ ํ˜„์ƒํ•œ๋‹ค๋ฉด, ์ด โ€˜๋‚˜๋ฌดโ€™๋Š” ์ธ๊ฐ„์—๊ฒŒ ์ฃผ์–ด์ง„ ์„ ํ—˜์ ์ธ ๊ณ ๋…๊ณผ ์กด์žฌ์˜ ์œ„ํƒœ๋กœ์›€์„ ํ™˜๊ธฐํ•œ๋‹ค. ์„ธ ๊ทธ๋ฃจ์˜ ๋‚˜๋ฌด๋Š” ์ œ๊ฐ๊ธฐ ๋‹ค๋ฅธ ์ž์„ธ๋กœ ์„œ ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์˜ˆ์™ธ ์—†์ด, ์‚ด์ด ๋‹ค ํ˜๋Ÿฌ๋‚ด๋ฆฐ ๋’ค์˜ ๋ผˆ๋งŒ ๋‚จ์€ ์ธ๊ฐ„์ฒ˜๋Ÿผ ์„œ ์žˆ๋‹ค. ๋•…์— ๋ถ™๋“ค๋ฆฐ ์ฑ„ ์•‰์„ ์ˆ˜๋„ ๋ˆ„์šธ ์ˆ˜๋„ ์—†๋Š” ๋‚˜๋ฌด๋“ค. ๊ทธ ์œ„๋กœ ๋ˆˆ(้›ช)์ด ๋‚ด๋ฆฐ๋‹ค. ์กด์žฌ์˜ ์žฌ ๊ฐ™์€ ๋ˆˆ์ด ์˜จ๋‹ค.

๋ฐฑ(็™ฝ)์ด ์ง€๋‹Œ ๊ฒฉ๋ ฌํ•จ๊ณผ ๊ณตํฌ๋Š”, ๋ฐ”๋กœ ์—ฌ๊ธฐ์— ์žˆ๋‹ค. ์•„๋ฌด๋„ ๋ˆˆ์น˜ ์ฑ„์ง€ ๋ชปํ•˜๊ฒŒ, ์†Œ๋ฆฌ ์—†์ด, ํ•œ ์กด์žฌ๋ฅผ ํŒŒ๋ฌป์„ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ. ์ด๋Ÿฌํ•œ ๋’ค๋ฎ์ž„์€ โ€˜์ฃฝ์Œโ€™์˜ ๋‹ค๋ฅธ ์ด๋ฆ„์ด๊ธฐ๋„ ํ•  ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋ฏ€๋กœ ํญ์„ค ์†์— ๋ฐœ๋ชฉ์„ ๋ฌป์€ ์ € โ€˜๋‚˜๋ฌดโ€™๋Š”, ํƒœ์–ด๋‚จ๊ณผ ๋™์‹œ์— ์ฃฝ์–ด๊ฐ€๊ธฐ ์‹œ์ž‘ํ•˜๋Š” ์ธ๊ฐ„์ด๋‚˜ ๋‹ค๋ฅผ ๋ฐ” ์—†๋‹ค. ์‚ด์•„ ์žˆ๋‹ค๋Š” ๊ฒƒ์ด ์–ผ๋งˆ๋‚˜ ์œ„ํƒœ๋กœ์šด ์ผ์ธ์ง€, ๊ณ ๋…ํ•œ ์ผ์ธ์ง€, โ€˜๋‚˜๋ฌดโ€™๋Š” ์•„๋ฌด ๊ฒƒ๋„ ๋งํ•˜์ง€ ์•Š๋Š” ๋ฐฉ์‹์œผ๋กœ ๋งํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

์ด์ œ ๊ทธ์˜ ์ด๋ฏธ์ง€๋“ค์€ โ€˜๊ท ์—ดโ€™๊ณผ โ€˜์†Œ๋ฉธโ€™์ด๋ผ๋Š” ๋‘ ๊ฐœ์˜ ๋ฐฉํ–ฅ์œผ๋กœ ์ „๊ฐœ๋œ๋‹ค. <ํ‘์˜ ๊ธด์žฅ> ์—ฐ์ž‘์—์„œ ๊ทธ๋Š” ์–ด๋–ค โ€˜๊ฐˆ๋ผ์งโ€™์˜ ์ˆœ๊ฐ„์„ ํฌ์ฐฉํ•œ๋‹ค. ๊ทธ๋Š” ์šฐ๋ฆฌ ์‚ถ์˜ ์ง€ํ‰์€ ๊ฒฌ๊ณ ํ•œ ๋•…์ด ์•„๋‹ˆ๋ผ ์‚ด์–ผ์Œ์ฒ˜๋Ÿผ ์œ„ํƒœ๋กœ์šด ๊ณต๊ฐ„์ด๋ผ๋Š” ์ ์„ ์ž˜ ์•Œ๊ณ  ์žˆ๋‹ค. ์šฐ๋ฆฌ๊ฐ€ ๋ฐœ ๋””๋”˜ ์„ธ๊ณ„๊ฐ€ ์šฐ๋ฆฌ ์กด์žฌ์˜ ๋ฌด๊ฒŒ๋ฅผ ์ด๊ธฐ์ง€ ๋ชปํ•˜๊ณ  ๊ฐˆ๋ผ์ง€๊ณ  ๊นจ์–ด์งˆ ๋•Œ, ์šฐ๋ฆฌ๋Š” ๋น„๋ช…์„ ๋‚ด์ง€๋ฅผ ์‹œ๊ฐ„๋„ ์—†์ด ์ˆ˜๋ฉด ์•„๋ž˜๋กœ ๋นจ๋ ค ๋“ค๊ณ  ๋ง ๊ฒƒ์ด๋‹ค. ์šฐ๋ฆฌ๋ฅผ ์‚ผํ‚ค๋Š” ๊ท ์—ด, ๊ตฌ๋ฉ๋“ค. โ€œ์šฐ๋ฆฌ๋“ค์˜ ์ •์‹ ์—๋Š” ๋ง๊ฐ์œผ๋กœ ๋šซ๋ ค ์žˆ๋Š” ์ˆ˜๋งŽ์€ ๊ตฌ๋ฉ๋“ค์ด ์žˆ๋‹ค.โ€(ํ˜ธ๋ฅดํ—ค ๋ฃจ์ด์Šค ๋ณด๋ฅดํ—ค์Šค, ใ€Ž์•Œ๋ ™ใ€) ๋ณด๋ฅดํ—ค์Šค์˜ ๋ฌธ์žฅ์ฒ˜๋Ÿผ, ์šฐ๋ฆฌ๋ฅผ ์‚ผํ‚ค๊ธฐ ์œ„ํ•ด ์ฒœ์ฒœํžˆ ์ž…์„ ๋ฒŒ๋ฆฐ ์ € ๊ตฌ๋ฉ๋“ค์€ ์ธ๊ฐ„์˜ ์‹œ๊ฐ„์œผ๋กœ๋Š” ์ธก์ • ๋ถˆ๊ฐ€๋Šฅํ•œ ์‹ฌ์—ฐ์ผ ๊ฒƒ์ด๋‹ค. ๋˜ํ•œ ๊ทธ๊ฒƒ์€ ๋ˆ„๊ตฐ๊ฐ€์˜ ๊ฐˆ๋ผ์ง„ ๋ˆˆ๋™์ž๋‹ค. ์†Œ๋ฆฌ ์—†๋Š” ๊ณตํฌ. ๊ทธ ์•„๋“ํ•จ์„ ๋‚ด์žฅํ•œ.

๋งˆ์นจ๋‚ด ๊ทธ๋Š” ํฐ ๋ชจ๋ž˜์‚ฌ๋ง‰์œผ๋กœ ์šฐ๋ฆฌ๋ฅผ ๋ฐ๋ ค๋‹ค ๋†“๋Š”๋‹ค. 3๋ถ€๋ฅผ ๊ตฌ์„ฑํ•˜๊ณ  ์žˆ๋Š” <็™ฝ, ๋ฐฑ์ƒ‰ ๋ฐœํ™”> ์—ฐ์ž‘์€ ์ œ๊ฐ๊ธฐ ๋‹ค๋ฅธ ํ’๊ฒฝ์ด์ง€๋งŒ, ์‹ค์€ ๋‹จ ํ•˜๋‚˜์˜ ํ’๊ฒฝ์ด๊ธฐ๋„ ํ•˜๋‹ค. ์‚ฌ๋ง‰์€ ๊ทธ ์–ด๋–ค ํ”์ ๋„ ํ—ˆ๋ฝํ•˜์ง€ ์•Š๋Š” ๋ฐฉ์‹์œผ๋กœ ์กด์žฌํ•œ๋‹ค. ๋ฐ”๋žŒ์ด ๋ถˆ๋ฉด ๋ถ€๋Š” ๋Œ€๋กœ ์ €ํ•ญ ์—†์ด ํœฉ์“ธ๋ฆฌ๊ณ  ์ง€์›Œ์ง„๋‹ค. ์ด๊ฒƒ์€ โ€˜์†Œ๋ฉธโ€™์— ๋Œ€ํ•œ ๊ฐ€์žฅ ๊ฐ•๋ ฅํ•œ ๋ฐฉ์‹์˜ ์€์œ ๋‹ค. ๋Š์ž„์—†์ด ๋ชธ์„ ๋ฐ”๊พธ๋ฉด์„œ ์›€์ง์ด๋Š” ์„ธ๊ณ„. ๋ณด์•˜์ง€๋งŒ, ๋ฌด์—‡์„ ๋ณด์•˜๋Š”์ง€๋Š” ๋งํ•  ์ˆ˜ ์—†๋Š” ์•„์Šค๋ผํ•œ ๋Š๋‚Œ์˜ ์„ธ๊ณ„. ์–ด์ฉŒ๋ฉด ์šฐ๋ฆฌ๊ฐ€ ๋งˆ์ฃผํ•˜๊ณ  ์žˆ๋Š” ์ด ์„ธ๊ณ„๋Š” ๋ชจ๋กœ ๋ˆ„์šด ๋‚˜์ฒด ์—ฌ์ธ์˜ ๋งค๋„๋Ÿฌ์šด ๋“ฑํ—ˆ๋ฆฌ์ฒ˜๋Ÿผ, ์‹ ๊ธฐ๋ฃจ์— ๋ถˆ๊ณผํ•œ ๊ฒƒ์ธ์ง€๋„ ๋ชจ๋ฅธ๋‹ค. ๋ง์—†๋Š” ํ™˜์˜(ๅนปๅฝฑ)์ผ์ง€๋„ ๋ชจ๋ฅธ๋‹ค.

์ •์ •ํ˜ธ์˜ ๋ฐฑ(็™ฝ)์€ ํƒ„์ƒ๋ถ€ํ„ฐ ์ฃฝ์Œ๊นŒ์ง€์˜ ์•„๋“ํ•œ ๊ฑฐ๋ฆฌ๋ฅผ ๋‹ด๊ณ  ์žˆ๋‹ค. ๊ทธ์˜ ๋ฐฑ(็™ฝ)์€ ๊ฐ“๋‚œ์•„์ด์˜ ๋ง๋ง‰์— ๋งบํžŒ ์ตœ์ดˆ์˜ ์„ธ๊ณ„, ์ธ๊ฐ„ ์กด์žฌ์˜ ๊ณ ๋…๊ณผ ์œ„ํƒœ๋กœ์›€, ๋ชจ๋“  ๊ฒƒ์„ ๋ฌด(็„ก)๋กœ ๋˜๋Œ๋ฆฌ๋Š” ์ฃฝ์Œ์˜ ํญ๋ ฅ๊ณผ ๊ณตํฌ๋ฅผ ํฌ๊ด„ํ•œ๋‹ค. ์ •์ •ํ˜ธ๊ฐ€ ํ™€๋กœ ๋ˆˆ๋ฐญ์„ ํ—ค๋งค๋ฉฐ ์ฐพ๊ณ ์ž ํ–ˆ๋˜ ๊ฒƒ์€ โ€˜์ธ๊ฐ„โ€™์— ๋Œ€ํ•œ, ๊ทธ๋ฆฌ๊ณ  โ€˜์‚ถ๊ณผ ์ฃฝ์Œโ€™์— ๋Œ€ํ•œ ์กด์žฌ๋ก ์  ์ด๋ฏธ์ง€์˜€๋‹ค. โ€˜์šฐ๋ฆฌ๋Š” ์–ด๋””์„œ ์™”๋Š”๊ฐ€, ์šฐ๋ฆฌ๋Š” ๋ˆ„๊ตฌ์ธ๊ฐ€, ์šฐ๋ฆฌ๋Š” ์–ด๋””๋กœ ๊ฐ€๋Š”๊ฐ€(Where do we come from? What are we? Where are we going?)โ€™๋ผ๋Š” ๊ณ ๊ฐฑ์˜ ์ž‘ํ’ˆ ์ œ๋ชฉ์ฒ˜๋Ÿผ, ๊ทธ๋Š” ์ž์‹ ์˜ ์กด์žฌ๋ฅผ ์งˆ๋ฌธํ•˜๊ธฐ ์œ„ํ•ด ํ•˜์—ผ์—†์ด โ€˜๋ฐฑ(็™ฝ)โ€™์— ๋ถ™๋“ค๋ ค ์žˆ์—ˆ๋˜ ๊ฒƒ ๊ฐ™๋‹ค. ๊ทธ ์ž์‹ ๋„ ๊ทธ๊ฒƒ์ด ๋ฌด์—‡์ธ์ง€ ๋ชจ๋ฅธ ์ฑ„.

์˜ค๋ž˜์ „ ์ด๋Ÿฐ ๊ธ€์„ ์ฝ์€ ์ ์ด ์žˆ๋‹ค. โ€œ์•„๋ฆ„๋‹ค์šด ์ž‘ํ’ˆ ์•ž์— ์„œ์ž โ€˜๊ฐ์ •์ด์ž…โ€™์ด๋ผ๋Š” ๋ง์€ ์–ธ์–ดํ•™์ ์œผ๋กœ ์ž˜๋ชป๋œ ๊ฒƒ์ด๋ผ๋Š” ์ƒ๊ฐ์ด ๋“ค์—ˆ๋‹ค. ํ•œํŽธ์˜ ๊ทธ๋ฆผ์„ ์ดํ•ดํ•œ๋‹ค๋Š” ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ๊ทธ ๊ทธ๋ฆผ์˜ ๊ณต๊ฐ„ ์†์œผ๋กœ ๋“ค์–ด๊ฐ€๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ, ์ด ๊ณต๊ฐ„์ด ์˜คํžˆ๋ ค ๋จผ์ € ์•„์ฃผ ํŠน์ •ํ•˜๊ณ ๋„ ๋‹ค์–‘ํ•œ ๊ณณ๋“ค์—์„œ ๋Œ์ง„ํ•ด ๋‚˜์˜ค๋Š” ๊ฒƒ์ด๋‹ค. ์ด ๊ณต๊ฐ„์€ ์šฐ๋ฆฌ๊ฐ€ ์•„์ฃผ ์ค‘์š”ํ•œ ๊ณผ๊ฑฐ์˜ ๊ฒฝํ—˜๋“ค์„ ์ฐพ์„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ฏฟ๋Š” ๊ฐ๋„์™€ ๊ตฌ์„์—์„œ ์ž์‹ ์„ ์—ด์–ด ๋ณด์ธ๋‹ค. ๋งํ•˜์ž๋ฉด ๋ฌด์–ธ๊ฐ€ ์„ค๋ช…ํ•  ์ˆ˜๋Š” ์—†์ง€๋งŒ ์šฐ๋ฆฌ์—๊ฒŒ ์นœ์ˆ™ํ•œ ๊ฒƒ์ด ๊ทธ๊ณณ์— ์žˆ๋Š” ๊ฒƒ์ด๋‹ค.โ€(๋ฐœํ„ฐ ๋ฒค์•ผ๋ฏผ,ใ€Ž๋ชจ์Šคํฌ๋ฐ” ์ผ๊ธฐใ€)

์—ฌ๊ธฐ, โ€˜็™ฝ์˜ ๋ฐœํ™”โ€™๋ผ๋Š” ์ œ๋ชฉ์„ ๊ฐ€์ง„ ํ•œ ๊ถŒ์˜ ์‹œ์ง‘์ด ์žˆ๋‹ค. ์ด ์‹œ์ง‘์˜ ์ฒซ ์žฅ์„ ํŽผ์น˜๋Š” ์ˆœ๊ฐ„ ๋‹น์‹ ์€ ์–ด๋”˜๊ฐ€๋กœ ๊ฐ€๊ฒŒ ๋œ๋‹ค. ๊ทธ๊ณณ์ด ์–ด๋””์ธ์ง€, ์–ด๋–ค ์‹œ๊ฐ„์ธ์ง€ ๊ทธ๊ฑด ์•„๋ฌด๋„ ๋ชจ๋ฅธ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ณณ์ด ์–ด๋””๋“  ์–ด๋–ค ์‹œ๊ฐ„์ด๋“ , ๋‹น์‹ ์€ ์ด ์‹œ์ง‘์˜ ๋งˆ์ง€๋ง‰ ์žฅ์„ ๋ฎ๊ณ  ๋‚œ ๋’ค์— ์ด์ „๊ณผ ๊ฐ™์•„์งˆ ์ˆ˜ ์—†์„ ๊ฒƒ์ด๋‹ค. ์ •์ •ํ˜ธ์˜ ็™ฝ์€ ๋‹น์‹ ์„ ์–ด๋–ค ๋ฐฉ์‹์œผ๋กœ๋“  ๊ดด๋กญํž ๊ฒƒ์ด๋‹ค. ๋งํ•˜์ž๋ฉด, ๋ฌด์–ธ๊ฐ€ ์„ค๋ช…ํ•  ์ˆ˜๋Š” ์—†์ง€๋งŒ ์šฐ๋ฆฌ์—๊ฒŒ ์นœ์ˆ™ํ•œ ๊ฒƒ์ด ๊ทธ๊ณณ์— ์žˆ๊ธฐ ๋•Œ๋ฌธ์—.