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藝術에 있어서 象徵的 表現에 關한 硏究

Title
藝術에 있어서 象徵的 表現에 關한 硏究
Other Titles
(A) Study on the Symbolism of Art
Authors
李京姬
Issue Date
1990
Department/Major
대학원 조소과
Keywords
예술상징조형화조소
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
With a view that art is the traces of human living and consciousness existing in the limitless universe, the artistic behaviors, having existed from the beginning of the world to the present is considered to be symbolic with reference to that such behaviors are nothing but expressing the aspects of human living and consciousness. So, the artistic behavior motivated to satisfy a human requisite so necessary, liverty has its purpose of individual freedom. Also, human history has been going on achieving such freedom with much effort to overcome its intrinsic and extrinsic obstacles, developed into such a direction and also prophesys that such an attempt will be continued. Human communication has a symbolic characteristic partly within itself and in every aspect of sciences, however more symbolic the world of art needs to be for the means of expression. The purpose of this study is to symbolically formalize the methods to cope with the intrinsic and extrinsic limiatations consistently approaching mankind into situational images. The contents of the study consist of the sybolic formalization of images and interpretation according to a formative viewpoint after examining the meaning or the significance of symbolism in art. For approaches to such a study, research into literature, and production of works and an analytic study were processed in parallel. Herein, subjective pieces of the work include 3 pieces of metal sculpture, 1 piece of stony sculpture, 1 piece of F.R.P, which total 7 pieces. Findings from the study are as follows; First, all the works herein symboloze the images of limitted situations which are physical, spiritual, and intrinsic and extrinsic. Second, in the aspect of modality, all the works herein are of a combination of abstraction and concreteness. Third, in the forms of works, the works herein are based on triangle composition and spherical one. Forth, herein, dynamic movement consists of spherical movement and perpendicular and horizontal movement.;藝術이 無限한 宇宙內에 存在하는 人間의 삶과 意識의 軌跡이라 볼 때, 太初부터 오늘날까지 存在하는 藝術行爲는 人間의 삶과 意識을 表現하는 表出行爲라는 點에서 象徵的이다. 根本的으로 藝術行爲가 自由를 必要充分條件으로 하는 行爲이고, 人類의 目標中에서 重要한 것을 個人의 自由라 할 때, 人類史는 그것의 걸림돌이 되는 內的·外的 障碍를 克服하려는 努力으로 發展되어 왔고 未來에도 그러한 試圖는 繼續될 것이다. 人間이 意思表現을 할 때는 많은 部門에서 象徵性을 띠고 있으나 藝術에서는 좀 더 次元높은 象徵을 手段으로 한다. 本 硏究의 目的은 人間에게 끊임없이 다가오는 內的·外的 限界에의 對處方式을 狀況 image로서 象徵的으로 造形化하는데에 있다. 本 硏究의 內容은 藝術에 있어서 象徵이 갖는 意義와 그 意味를 檢討한 後, 人間이 限界에 直面했을 때의 狀況 image를 象徵的으로 造形化하고 造形的인 觀點에 따라 解釋하는 것이다. 本 硏究의 方法은 文獻硏究와 作品制作 및 分析을 竝行하였으며, 分析對象은 金屬彫 三點, 石彫 一點, Terracotta 一點, 木點 一點, F. R. P 一點으로 總 七點이고 作品은 象徵을 中心으로 分析하였다. 本 硏究의 結果는 다음과 같다. 첫째, 全體作品은 肉體的·精神的 및 內的·外的 限界狀況 image를 象徵한다. 둘째, 樣式的인 面에서는 抽象과 具象의 結合으로 이루어져 있다. 셋째, 作品의 形態는 三角形 構圖와 球形의 構圖를 基本으로 하여 制作되었다. 넷째, 作品에서의 運動은 圖形의 運動과 垂直·水平의 運動으로 볼 수 있다.
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