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朴崍賢 作品의 造形的 特性

朴崍賢 作品의 造形的 特性
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(A) Study of Park Re-Hyun's formative characteristics
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교육대학원 미술교육전공
이화여자대학교 교육대학원
東洋畵는 保守性이 강해 西洋畵와 같은 빠른 發展을 하지 못했다. 이런 東洋畵의 發展을 위해 各 方面에서 寄與한 畵家들이 現代에는 많이 있다. 朴崍賢은 보다 새로운 造形 意識의 探究로 여러 차례 그 作品에 變貌를 가져와 우리나라 東洋畵의 現代化에 功獻한 東洋畵家다. 東洋畵의 現代化를 理解하고, 그것을 더 發展시키는데 있어서는, 여기에 寄與한 畵家들의 硏究가 必要하다. 傳統的 東洋畵에서 出發해 具象에서 非具象으로, Papier Colle, Tapisserie, 版畵 등 作品 分野를 넓혀 東洋畵와 西洋畵와의 거리를 좁히고, 그 技法을 받아 들여, 東洋畵를 現代化 시키는데 功獻한 朴崍賢의 變貌 과정과 造形的 特性k에 대한 硏究의 必要가 提起된다. 本 硏究의 目的은 朴崍賢 作品이 時代에 따라 變貌하는 過程과, 그 變하는 造形的 特性을 糾明하는데 있다. 本 硏究의 內容은 그의 作品이 變貌하는 過程을 1950年代의 造形時代, 1960年代의 構成的 抽象畵時代, 1970年代의 抽象 表現主義時代로 區分해, 그 時代別 造形的 特性을 分析하였다. 本 硏究의 方法은 文獻을 통해 理論的으로 考察하고, 作品은 表現樣式別로 나누어, 그 造形的 特性을 分析하였다. 本 硏究의 結論은 다음과 같다. 1. 1950年代는 立體를 面으로 分割해서 그것을 再構成하는 立體派的인 造形的 特性을 가지는 作品으로 一貫했다. 主題는 具象的이나 背景은 變形된 形象을 Composition으로 처리해 抽象的이었다. 2. 1960年代는 構成的 抽象畵로, 非形態的인 形과 色의 感性的 造形의 特性을 지니는 作品을 제작하는 時代였다. 3. 1970年代는 版畵 修業을 통해 西洋畵의 造形性, 技法을 익혀 抽象 表現主義的 特性을 지닌 作品을 시도, 現代化에 功獻했다.;Unlike western painting, oriental painting has failed to achieve rapid development due to its conservative nature. Yet there have 'been many contemporary painters who have contributed in various ways to the new development of this particular field of painting. Park Re-Hyun, as one of such painters has done much to the modernization in Korea of oriental painting through her dedicated search for a new sense of form, which has resulted in a siries of transformations in her works. In order to help understand the modernization of oriental paintings as well as to contribute to its further progress, it is important that we make a proper study of the painters who have participated in such efforts. It is in this context that a study of Park Re-Hyun's transformation has its significance. Biginning with traditional oriental painting she has come through papier colle tapisseric, print, and, through such extensive artistic pursuits which has resulted in introduction of western techniques into oriental paintings She has succeeded in bringing the two artistic world closer. This study deals with her transformation by analysing formative period of 1950's, compositional abstract period of 1960's, and finally the abstract expressionistic period of 1970's. The method of this study was a theoritical study of available data as well as analyses of formative characteristic of various expression modes of her paintings. Conclusions of the sutyd are; 1. Throughout 1950 t s her formative characteristic has been in cubistic rearrangement of dimensionally divided cubic forms. Theme was concrete while the background, composed with transformed forms, was abstract. 2. 1960's were characterized by compositional abstract paintings which presented formative feeling through non-formative forms and colors. 3. In 1970's, through her engagement in print she obtained the formative aspect and the technique of western paintings, which had done much toward the modernization movement.
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