천경자 작품에 나타난 미술치료의 상징적 요소 연구

Abstract

본 연구는 천경자 회화 속에 나타나는 인물, 꽃, 뱀 및 기타 소재의 상징적 이미지를 칼 구스타프 융(Carl Gustav Jung)의 분석심리학 관점에서 무의식의 의식화, 객관화 과정을 통해 작품에 나타난 미술 치료적 요소를 연구하는데 그 목적이 있다. 천경자의 작품은 이혼과 죽음, 전쟁과 연결되어있다. 이혼과 함께 찾아온 동생 옥희의 죽음과 6.25 전쟁은 천경자에게 큰 외상(trauma)으로 다가왔다. 아픈 시련을 무의식 속에 가두지만 무의식의 의식화, 객관화 과정을 통해 외상(trauma)의 원형을 상징적으로 나타내며 미술 치료적 요소들을 보여주고 있다. 융(Jung)은 분석심리학적 관점에서 우리 자신의 무의식에서 나온 이미지를 연구하고 신중히 검토하여 각 개인은 자신의 삶에서 창조적 잠재력과 고유한 의미를 점점 의식화 해가는 과정을 무의식의 객관화라 보았다. 이것은 의식의 시각화를 이미지로 나타내는 것으로 의식이 무의식을 받아들일 수 있게 되는 개성화 단계에 이르게 된다. 이 과정에서 원형은 상징(Symbol)으로 나타나게 되는데, 상징은 직접적으로 드러낼 수 없는 것들을 간접적인 이미지를 통해 나타내게 된다. 융(Jung)은 상징을 아직 그 의미의 특징을 남김없이 말로 표현할 수 없는 것이라고 하였는데 이것은 아직 알려지지 않았기 때문에 다만 그 본질을 추측할 수 밖에 없지만 무의식의 내용에 대한 가장 최선의 표현이자 무의식의 언어라고 하였다. 상징적 의미라 할 때 우리는 미지의 어떤 의미를 전제로 하고 있다. 최선의 방법으로 아직 채 알려져 있지 않은 의미를 표현하고자하지만 설명하지 못한 의미가 남아 있는 것이 상징의 특징이라 하였다. 칼 구스타프 융(Carl Gustav Jung)의 이론을 바탕으로 작품 <조락> <생태> <내가 죽은 뒤> <자살의 미> <사군도> <꽃무리> <길례언니> <내 슬픈 전설의 22페이지>를 통하여 미술 치료적 요소를 알아보았다. 작품을 통해서 미술 치료적 요소를 살펴보면 작품 <조락> <생태> <내가 죽은 뒤>에서 어두운 시대와 죽음 밖에 생각 할 수 없었던 당시 상황이 개구리와 뱀, 나비를 통하여 상징적으로 나타나 무의식속 대상상실과 시련이 반복적으로 표현되고 있으며, 불안이 그림 전체적으로 투사되고 있지만, 이러한 반복적인 내면의 불안을 상징적으로 표출하면서 자신을 위로하고 자기치료(Self Therapy)하며 삶의 본능으로 향하고 있다. <사군도> <꽃무리> <자살의 미> <길례언니>를 통해 불안 요소인 외상(trauma)이 무의식의 의식화, 객관화를 통해 의식이 시각화되어 이미지로 나타나며 불안이 감소된다는 사실을 발견하였다. <내 슬픈 전설의 22페이지>에서는 무의식의 의식화 과정에서 자신을 승화시킨 꽃과 뱀 여인이 모두 한 화면에 증장하면서 크레이머(Kramer)가 주장한 미술의 창조성에 치료효과가 있음을 보여주었으며 22살의 외상(trauma)을 회상하며 원형을 상징적으로 나타내어 자기(自己)에 도달하는 개성화 단계에 이르게 되었다. 천경자는 무의식 속에 잠재되어있는 이혼과 동생의 죽음을 의식으로 투사시키며, 이러한 무의식의 의식화 과정을 통해 남편과 동생을 떠나보내고, 무의식 속의 회피적 요소들을 상징으로 승화시키며 미술 치료적 요소를 보여주었다. 미술치료는 창작을 통한 내면세계의 외면화 과정 속에서 갈등적인 심리상태나 정서 상태를 파악하고 재정리하여 창작이라는 과정을 통하여 병리적인 정신구조를 재편성해 나가는 것을 돕는다. 천경자는 작품 활동을 통해 현실과 자신을 무의식의 의식화, 객관화 과정의 반복하고, 의식의 시각화를 통해 상징으로 삶은 돌아보고. 희망을 찾아내고자 하였다. 크레이머(Kramer)가 주장한 창작과정이 정서적 갈등과 심리적인 증상을 완화시키고, 안정된 삶을 살아갈 수 있도록 도와주는 미술 치료적 요소를 보여주고 있다. 현재까지의 작품 활동을 통해 자신의 외상(trauma)을 위로하고 돌보는 자기치료(Self Therapy) 과정을 반복하였으며 과거에 얽매이지 않고 과거의 불안에서 벗어나 무의식의 의식화, 객관화 과정을 통해 뱀의 강인한 생명력처럼 삶의 의지를 투사하고 승화시켰다.| This research has been carried out to figure out art therapeutic elements which appear in art works through consciousness-raising and objectification of unconsciousness in perspective of analytic psychology of Carl Gustav Jung and according to symbolic image of person, flower, snake and other subjects in works of Kyoungja Cheon. The works of Cheon has connection to divorce, death and war. The death of Okhee, the younger sister of her, after divorce and the Korean war have become critical trauma for her. These agony remains inside unconsciousness but the shape of trauma appears to be symbolic through consciousness-raising and objectification of the unconsciousness and these becomes materials for art therapy. Jung studied and reviewed the images from our unconsciousness in detail through analytic psychology and concluded that the process, in which each individual raises consciousness of creative potential and unique meaning, is the objectification of unconsciousness. This procedure visualizes consciousness as image that consciousness becomes individualized for accepting unconsciousness. During such process, shape of trauma is symbolized through indirect image which cannot be presented directly. Jung described symbol as one of which characteristics cannot be presented through verbal expression that the essence of symbol can only be speculated as it is not known well. However, this can be seen as the ultimate expressive mechanism and language for the contents of unconsciousness. Regarding a symbol, we premise certain meaning of the image. A distinct characteristic of symbol is the inexplicable meaning while expressing the meaning through the currently-best method. In this paper, the art therapeutic elements have been indicated by examining <Downfall>, <Ecology>, <After I Die>, <The Beauty of Suicide>, <The Snakes>, <The Flowers>, <Sister Gillye>, <22 Pages of My Sad Legend> according to the theory of Carl Gustav Jung. Cheon symbolizes herself as frog, snake and butterfly as symbolic meaning of unconsciousness by repeating object loss in <Downfall>, <Ecology> and <After I Die> in regard to the era of darkness and circumstance in which death seemed to be the only option to live. Further, anxiety appears in the whole works but this element is expressed by repetitive symbolization of inner side anxiety for self therapy towards desire for life. In <The Snakes>, <The Flowers>, <The Beauty of Suicide> and <Sister Gillye>, her trauma, which causes anxiety, is reduced by image visualized through consciousness raising and objectification of unconsciousness. In addition, in the <22Pages of My Sad Legend>, flower and snake, by which Cheon is sublimated through consciousness raising of unconsciousness, are all brought up and this displays therapeutic effect for creativity of art by which Kramer argued. Further, the objectives become individualized reaching herself through symbolization of shape of trauma of her age 22. Kyoungja Cheon projects her divorce and death of sister which are hidden behind unconsciousness as consciousness. Through this process, she sends off her husband and sister through consciousness-raising of unconsciousness, sublimate the evading elements inside unconsciousness and these can be seen as elements of art therapy. Art therapy helps rearrangement of pathological mental structure by creation through figuring out and rearrangement of confused psychological and emotional states during externalization of the inner world through creation. Cheon attempted to repeat consciousness-raising and objectification of unconsciousness for the reality and herself through her works. Further, she tried to look back on her life and to see hope through visualization of consciousness. The creation process, by which Kremer proposed, has been found to release emotional and psychological conflicts and to have art therapeutic elements which can help stabilization of life. Kyuongja Cheon, so far, has repeated self therapy for comforting and caring her trauma through her works and projected desire for life, which is as strong as the vitality of snake, through consciousness-raising and objectification of unconsciousness riding herself of anxiety of the past bailing out of the past agony.; This research has been carried out to figure out art therapeutic elements which appear in art works through consciousness-raising and objectification of unconsciousness in perspective of analytic psychology of Carl Gustav Jung and according to symbolic image of person, flower, snake and other subjects in works of Kyoungja Cheon. The works of Cheon has connection to divorce, death and war. The death of Okhee, the younger sister of her, after divorce and the Korean war have become critical trauma for her. These agony remains inside unconsciousness but the shape of trauma appears to be symbolic through consciousness-raising and objectification of the unconsciousness and these becomes materials for art therapy. Jung studied and reviewed the images from our unconsciousness in detail through analytic psychology and concluded that the process, in which each individual raises consciousness of creative potential and unique meaning, is the objectification of unconsciousness. This procedure visualizes consciousness as image that consciousness becomes individualized for accepting unconsciousness. During such process, shape of trauma is symbolized through indirect image which cannot be presented directly. Jung described symbol as one of which characteristics cannot be presented through verbal expression that the essence of symbol can only be speculated as it is not known well. However, this can be seen as the ultimate expressive mechanism and language for the contents of unconsciousness. Regarding a symbol, we premise certain meaning of the image. A distinct characteristic of symbol is the inexplicable meaning while expressing the meaning through the currently-best method. In this paper, the art therapeutic elements have been indicated by examining <Downfall>, <Ecology>, <After I Die>, <The Beauty of Suicide>, <The Snakes>, <The Flowers>, <Sister Gillye>, <22 Pages of My Sad Legend> according to the theory of Carl Gustav Jung. Cheon symbolizes herself as frog, snake and butterfly as symbolic meaning of unconsciousness by repeating object loss in <Downfall>, <Ecology> and <After I Die> in regard to the era of darkness and circumstance in which death seemed to be the only option to live. Further, anxiety appears in the whole works but this element is expressed by repetitive symbolization of inner side anxiety for self therapy towards desire for life. In <The Snakes>, <The Flowers>, <The Beauty of Suicide> and <Sister Gillye>, her trauma, which causes anxiety, is reduced by image visualized through consciousness raising and objectification of unconsciousness. In addition, in the <22Pages of My Sad Legend>, flower and snake, by which Cheon is sublimated through consciousness raising of unconsciousness, are all brought up and this displays therapeutic effect for creativity of art by which Kramer argued. Further, the objectives become individualized reaching herself through symbolization of shape of trauma of her age 22. Kyoungja Cheon projects her divorce and death of sister which are hidden behind unconsciousness as consciousness. Through this process, she sends off her husband and sister through consciousness-raising of unconsciousness, sublimate the evading elements inside unconsciousness and these can be seen as elements of art therapy. Art therapy helps rearrangement of pathological mental structure by creation through figuring out and rearrangement of confused psychological and emotional states during externalization of the inner world through creation. Cheon attempted to repeat consciousness-raising and objectification of unconsciousness for the reality and herself through her works. Further, she tried to look back on her life and to see hope through visualization of consciousness. The creation process, by which Kremer proposed, has been found to release emotional and psychological conflicts and to have art therapeutic elements which can help stabilization of life. Kyuongja Cheon, so far, has repeated self therapy for comforting and caring her trauma through her works and projected desire for life, which is as strong as the vitality of snake, through consciousness-raising and objectification of unconsciousness riding herself of anxiety of the past bailing out of the past agony.