A study of Xie He’s Concept of Spirit Resonance and Vitality in Korean Contemporary Art - Focusing on the Work of Lee Seung-taek and Ji Yong-ho

In the context of accelerated globalization driven by technological advancements and the proliferation of digital media, the exchange and fusion of diverse cultures have become increasingly prominent. To achieve a comprehensive understanding of art and culture within this globalized framework, it is imperative to integrate the study of both East Asian and Western art philosophies. However, Contemporary Art in Korea, much like Modern Art globally, remains predominantly influenced by Western-centric aesthetic criticism methodologies that have been adopted since the period of modernization. This study seeks to explore the concept of Spirit Resonance and Vitality (氣韻生動)－a foundational creative principle and critical standard within East Asian art－by examining its application in the works of contemporary Korean installation artists. The objective is to assess the viability of Spirit Resonance and Vitality as a critical tool in the discourse of contemporary art.<br/> The concept of Spirit Resonance and Vitality, initially articulated in Xie(謝赫) He's Six Principles of Chinese Painting, originally referred to the vitality and lifelikeness in portraiture. Over time, it has evolved to encompass various interpretations, and in the contemporary context, it is increasingly regarded as the essence of art, capable of transmitting an artist’s spiritual energy, vitality, and imagination to the audience through creative expression. This research provides a thorough analysis of the concepts of Qi (氣) and Yun (韻) to deepen the understanding of Spirit Resonance and Vitality. Subsequently, the study examines the works of Korean contemporary installation artists Lee Seung-taek and Ji Yong-ho, employing diverse interpretations of Spirit Resonance and Vitality as a critical framework.<br/> The analysis reveals that Lee Seung-taek’s &quotnon-sculpture&quot works foster an immersive contemplative space that conveys spiritual energy, vitality, and imagination to the viewer. Similarly, Ji Yong-ho’s utilization of deformation techniques with discarded tires allows for the experience of a supernatural energy that transcends mere form. The findings of this study demonstrate the efficacy of Spirit Resonance and Vitality as a critical tool within the realm of contemporary installation art. Consequently, this research contributes to the field by extending the application of the traditional concept of Spirit Resonance and Vitality—previously confined to traditional painting-to the critique and formal analysis of modern installation art. This extension underscores the potential for<br/>uncovering new artistic values within Eastern aesthetics and offers a novel methodology for the interpretation of contemporary art.