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現代 油象繪畵에 있어 線으로 表現된 時ㆍ空間의 問題

Title
現代 油象繪畵에 있어 線으로 表現된 時ㆍ空間의 問題
Other Titles
(THE) MATTER OF LINE, TIME AND SPACE IN MODERN ABSTRACT PAINTING
Authors
李宣旼
Issue Date
1990
Department/Major
대학원 동양화과
Keywords
현대유상회화시간공간
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
오늘날 회화 藝術에 있어 표현의 다양성과 무한성을 낳게한 抽象形式의 대두는, 時間의 槪念을 不動의 繪畵空間에 表現할 수 있는 可能性을 提示하게 되었다. 現代 造形 방식이 기존 空間 構成의 破壤 후 생기는 空虛 空間 위에 物理的要素(點,線 등)에 의한 槪念的 空間을 創出해 내고, 여기에 다시 時間의 槪念導入을 가능하게 하였다면, 이제 對象의 實體 槪念은 의미를 喪失한 한개의 普遍的 구성요소로써, 이를 기초로한 多角的 空間 展開만이 있을 뿐이다. 이에, Kandinsky는 그의 著書 『點·線·面』 에서, 物質的인 面을 抽象의 世界로 끌여 들이고 이를 다시 物質의 世界 위에 還元(表現)하는 問題를 檢討하고 있다. 繪畵에 있어 基礎가 되는 點은 모든 것을 包容하는 沈默의 울림이자 內的 合目的性을 지닌 自立的인 本質이며 線은 外的 紐帶 關係 없이 自由롭게 놓여질 수있는 內的인 性質이라 할 때, 과거의 再現 藝術에 있어 線이라는 槪念이 形을 表現했던 主된 要素에서 벗어나 純粹意識의 表現手段으로 利順되었음을 의미한다. 즉, 線에 繪畵의 要素가 되는 것은 自立的 視覺 對象임과 同時에 무엇을 表象하는 二重의 機能에 의해서라 한다면, 線 자체만으로도 人間의 內面에서 再創造된 時間, 空間의 世界를 象徵的으로 表現하기이 충분한 중요한 요소라 보아진다. 따라서 本 硏究는, 時·空間의 間題를 論함에 있어 繪畵의 기본표현 요소中 하나이며, 그 自體만으로 충분히 운동의 方向을 나타낼수 있는 線의 間題를 硏究 對象으로 삼고있다. 이는 운동의 표현을 통해서, 不動의 회화공간에 時間性의 導人이 가능해 진다 할 때, 이를 이루는 根幹은 결국 하나의 線에서 시작되기 때문이다. 이렇듯, 線이 가지는 特性은 순차적으로 創出된 행위성에 작가의 정신세계가 反映되어 畵面에 表出되며, 오늘날 抽象에 있에 움직임, 三次元 분위기, 感情 까지도 그려낼 수 있다는 것으로 認識 되어질 수 있다. 이때 이러한 思考는 단지 西洋의 抽象美術에서만 행해지는 사실이 아니며 韓國畵에서도 보여지고 있는 現象이다. 즉, 과거 東洋繪畵에서 나타난 線의 漑念이 西洋의 그것과는 달리, 直觀的 綜合的인 感受性에 바탕을 둔 內的인 心理 效果라는 점에서 오늘날 抽象繪畵와 一脈相通하는 面이 있다. 결국 이러한 線의 槪念으로, 本人은 어떠한 對象의 구애없이 作品 表面上의 흔적 - 點·線·面·色彩 등 - 에서 느껴지는 느낌으로서의 時間을 화선지라는 하나의 空間에, 더 나아가 三次元的 空間위에 再構咸하려는 시도를 꾀하고자 하였다.;If the transition of drawing techniques today, from a means of representation to the expression of the inner self, generated variety and infinity, twentieth century modern art caused the appearence of forms of expression as numerous as the techniques of expression1 The advent of the abstract form, showing suvjectivity in drawing, through the inner activities of the artist according to the basic elements of expression in drawing, presented the possibility of expressing the concept of time, including the sense of speed, in the static space of drawing. Modern sculpting methods create conceptual space by physical elements (points, lines etc.) on empty space resulting from destruction of the existing composition of space, and by introducing the concept of space, induced the spatial concept of a region of relative motion among compositional elements. As such, the substantialistic concept of the object loses meaning and becomes merely a general compositional element, and only a multilateral expansion of space based on this exists. Consequently, in his book Point, Line, Surface, Kandinsky examines the problem of taking the phsical plane into the abstract world and then returning (wxpressing) it onto the phsical world. If a point, forming the basis of drawing, is an all-inclusive reverberation of silence, an independent essence with an inner purpose, while a line, an inner characteristic without external ties, which is freely placed, then it means that the concept of the line is divorced from being the principal element of expressing form, and is used as a means of expression of pure consciousness. That is, the line becomes an element of drawing serving a double function as an independent visual object and simultaneously as a representation, and when the sight follows the line in order to capture it, the line demands our attention, and implies the recreation of the artist throught an associative action. Thus, it can be said that the beauty of the expression of the line is determined in this context. Therefore, the line itself is an important element, sufficient for symbolically expressing a world of time and space recreated in the inner self of human-beings. Consequently, this paper takes as its subject the matter of the line, one of the basic elements of expression of drawing, and in itself sufficient to show direction of motion in discussing the matter of time and space. This is because when the introduction of the concept of time becomes possible in the static space of drawing through the expression of motion, this ultimately starts with a single line. As such, the characteristic of the line can be recognized as expressing the mental world of the artist reflected throught an instantaneously created action in a drawing an being able to show motion, three dimensions, atmosphere and emotion in modern abstract drawing. This reasoning is a phenomenon not only seen in Western abstract art but also in Korean works. That is, the concept of the line appearing in past Oriental drawings differs from that of the West, in that it is an inner psychological effect extending from an intuitive, encompassing sensibility, and therefore has aspects in common with modern abstract art. In conclusion, by such a concept of the line, I have tried, without being bound by objects, to essay, in traces on the surface of a work -- points, lines, surfaces, colors, etc. -- through time spent in shaping a given stimulus as the width of time as felt and the time specified by the present, a recomposition on a space in the form of paper, and in a deeper sense, on three dimensional space through time.
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