절제된 선으로 부처를 묘사하다, ‘회화의 현인’ 오도자

Eighty-seven fresh people are moving forward in fancy and elegant clothes. Each of them is wearing unique clothes, and the clothes are fluttering in the wind. Michael Sullivan, an English art historian, is one of the chiefs of art in the 7th century, so he is called a painter. It is the work of the ancient Chinese painter Odoja. His work, which is elegant but powerful, shows the extreme simplicity and beauty. Odoja, who was born in the heyday of the party, was called the predecessor of painting. He worked for the emperor in the palace and painted hundreds of murals for Buddhists and monastics. Almost all of Odoja's works have survived to this day. However, through the remains of some of them, you can see his noble art and skills. Odoja mainly drew portraits. Most of his works depict many of the Buddhist gods who were the spiritual center of the people of the time. This work, owned by the Osaka Shirin Museum in Japan, is known as a replica of the Song Dynasty, which was based on Odoja's work. On the far left of this work, which is drawn in the form of a long scroll, is the birth of Sakamoni. The king of India, Shuddhodana, and the queen Maya, The son born between them, Sakamoni, goes to find the little god and offers his son to the god. The little god is surprised to find out that the child is a Buddha, and he lies on the floor to express his respect. Buddhism, which was established in India and Nepal, began to gain popularity in the China-Northeastern period, and later reached its peak during the Tang Dynasty. And in Chang'an, which was the capital at the time, Odoja completed many works related to Buddhism. In this scene where Sakamoni is offered to a small god, We can find a contrast in the group of people who are kneeling and standing. In the appearance of people, we can feel calm and elegant calmness. Odoja described the features of the face, hat, and accessories with thin lines and light ink. Elegant clothes are laid down as if flowing. The overall soft and restrained peach makes their steps forward feel light and elegant. On the other hand, the appearance of the little god is much stronger and more expressive. His face and muscles are made up of short, cut and wavy curves, Emphasizing the intense change of emotion at the moment of recognizing the great Buddha. The movement of his hands and objects shows the state of mind of feeling reverence and anxiety at the energy of a noble being. With these delicate descriptions, Odoja was very popular at the time. The people of the time said that his painting was full of air in the cloth. Odoja used dark ink to emphasize the movement of the flowing cloth, It was like a painting of the West. Odoja's painting-like anger is highly related to the painting of the West in ancient China. In particular, it is closely related to the light body he studied. However, he went one step further from there, With a balanced restraint, he expressed emotional expression only in the parts he needed in the painting. A century later, the great scholar of the North Song Dynasty in China, He said that he had realized the innovation that had deviated from the existing rule of Odoja. He praised that he had newly developed art with a bold and free mind. From the time of the Tang Dynasty to the present day, Odoja's social expression of good is in Chinese art. It is said to show the spirit and inner side through the flow of things. This technique of conveying the true inner side of a person through the visible form, It is considered to be more than ultimate in art.