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일상적 삶의 표현을 위한 인물화 연구

일상적 삶의 표현을 위한 인물화 연구
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대학원 동양화과
이화여자대학교 대학원
미술이 사회를 반영하고 나아가 시대를 반영한다고 볼 때 미술에 있어서 일상은 현실을 이해하는 중요한 통로가 될 수 있다. 작가가 일상을 바라보는 태도는 곧 우리의 삶을 해석하고 이해하는데 있어 하나의 접근 방식이 될 수 있으며 이것은 작가의 개인적인 통로이자 제삼자인 우리와의 연결통로인 작품세계 속에서 하나의 언어로서 형상화된다. 우리는 작품을 통해 그 작가가 삶을 이해하는 방식과 언술의 논리를 배우고 나아가 또다른 삶을 만나게 되는 것이다. 본인은 이러한 입장에 서서 일상의 가장 직접적이고도 실제적인 형태인 일상의 인물을 다룸으로써 일상을 나름의 방식으로 해석하고자 하였다. 그 방법적인 면에 있어서는 한국화 전통재료인 먹과 운필을 바탕으로 묵미(墨味)를 통해 삶의 단면을 드러냄으로써 이미 그 맥이 단절되어 있는 조선후기 풍속화와의 연결고리를 찾고자 노력하였다. 이에 본 논문에서는 조선후기 풍속화를 비롯하여 한국회화에 나타난 풍속적 인물화를 살펴봄으로써 시대상황과 함께 변모해 가는 일상적 인물의 모습을 연구하였으며 그 속에서 전통인물화의 한 장르인 풍속화의 맥을 이을 수 있는 길을 모색해 봄으로써 앞으로 본인의 작업이 나아갈 방향을 제시하고자 하였다. ; I stand on the point that‘Korean Painting’should be like‘Korean Painting’if it wish to be called so it in these days when paints to be similar to‘Western painting’are poured out under the name of modernization today. In the genre of Korean Painting, it is the tradition that we can t overlook because it has a unique view for the world that is made distinct from the Western Painting. The unique view teaches to us how we look at the world and how we concrete shape, so it must not be seen inferior to that of the west, or trite and ill-matched with the modern society. This study is on the premise that Korean Painting can t exist in the break with the tradition and only ceaseless communication with the tradition can make it possible to succeed in the Korean Painting. One of the best Korean Paintings in the history of Korean Paintings is taken to be the Genre Painting in the last period of Chosun Dynasty. The reason is that it can obviously show Korean emotion both newly defining reality by devoting human value with spirit of "the Practical Science" and opposing customary painting circles subjected to the influence of Chinese Painting. But it has showed the tendency of distance with reality in the tern of contents, breaking off the tradition after the period of King Young-cho and King Jung-cho and going, through‘Chosun Art Exhibition’and‘Korean Art Exhibition’in modern times. It couldn t reflect the idea and feeling of the period so that it became trite. My work is an extension line of the intention like so when genre painting tried to take an objective view of the lives of the people and to seek better human values. I used usual figure for the material so that I tried to express today s human style that loses individual values and becomes anonymous. And I tried to resume failed humanity although in a Picture in the basis of the affirmation and hope, not through unbelief and despair for human. In my work, daily figure coexist in various types. I tried to hold lots of expression of life and a phase of life by mainly dealing with daily figure seen in daily space of‘Street‘. But while working, both simplified and uniform expression for figure resulted from poor use of chinese ink and moving the brush and unskilled use of picture resulted from unsystematic management can produce triteness, and dangerously fall into mannerism - living under the cloak of succession of Korean Paintings. Therefore I should have the sharp eye to see the period like the genre painters in the last period of Chosun dynasty and I need to make a desperate endeavor for power of expression when I look picture accomplishment through their own original work to become the symbol to us. Through this, I should newly establish Korean people s figure living in modern society.
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