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人物畵의 空間性 硏究
- 人物畵의 空間性 硏究
- Other Titles
- Study of Space in the Oriental Painting
- Issue Date
- 대학원 미술학부회화·판화전공
- 인물화; 인물그림; 공간성; 여백
- 이화여자대학교 대학원
- 東洋畵에 있어서 人物畵는 西洋에서 만큼 重要한 자리를 차지하지 못하고 純粹한 造型意識에 의해서가 아니라 國民을 敎化하기 위한 目的을 갖고 製作되었다.
老·壯子思想이 發達하면서 사람들은 自然을 憧憬하게 되었고 作家는 自然속에 隱遁하고 싶은 心境을 山水畵속에 人物로서 表現하였다.
近代로 오면서 西歐的 造形意識과 리얼리즘의 影響으로 인해 人物은 重要한 素材로서 부각되고 現實生活에 關心을 갖기 시작하자 東洋畵에서의 無限한 想象力의 空間이었던 餘白은 실제로 存在하는 것에 대한 描寫로 채워져 範圍가 限定되어 갔다.
오늘날의 繪畵가 意味附與의 現象을 나타내고 그 意味를 부각시키기 위해 接寫的 構圖(Close up)를 주로 使用하므로 그 空間은 더욱 限定되고, 實存的 空間이라는 새로운 意味를 갖는다.
本人의 作品에 나타나는 이런 接寫的 構圖의 制限된 空間은 遠近法的인 對象空間이 무너지면서 畵面의 平面化를 가져온다. 따라서 線描로 인한 個體化의 技法은 점차 사라지고 色彩의 役割이 增强하여 背景과 對象의 뚜렷한 區分이 없어져 對象이 背景에 沈透하게 된다.
이러한 要素들은 都市의 어디서나 만날 수 있는 平凡한 사람들의 이미지를 통해, 사람들이 차지하는 空間과 畵面의 空間을 調和시켜 보고자 하는 意圖의 한 방편으로 表現했다.
本人이 作品을 통해 나타내고자 하는 意圖돠 東洋畵의 精神性을 얼마나 調和시킬 수 잇는가, 또 밀려오는 西歐的 造形意識과 方法論에 어떻게 代處하여야 할 것인가는 적극적인 創作 意志와 韓國的인 感受性의 추구로서 解決해야 할 것이라고 생각한다.;It is understood that the essence of arts is to search for the meaning of life and the question of to-be, and painters are those who try to find out the essence through their works.
However, as they are also emotional human-beings, it is inevitable that they be affected by their personal experience and subjective interpretation in creating the works. The space we can see in the Oriental painting is used as an expression method.
This space and simple presentation is the most mysterious and precious characteristics Oriental painting has.
The oriental artists enables the onlookers to enjoy fulfilling the space with their own imaginary scenary and affection by removing the objects which is not helpful to his painting.
Therefore, the space in the oriental painting could not be explained as a description, but rather remains as a question.
Modern paintings are inclined to have the characteristics of Nihilism in that it dispassionately describes the tangible and partial objects.
In the course of this inclination, most painters try to look into the objects as closely as possible and as the results, the spaces has restricted range and meanings.
In this point, the color began to have more important position in painting.
Character paintings in the oriental pictures doesn't hold on advantageous position as compared with that of western ones, and created not be pure formative-consciousness but by a special intention.
As the Taoism prevails, people turns their eyes on the spirit of nature itself, and accordingly the artists express their desire to seclude- themselves from the world in the form of characters, one of the landscape paintings.
In modern ages, human-beings became the major objects of painting as the consequence of the western formative-consciousness and realism, and painters became interested in the representation of actual life. As a natural consequences, it follows that the space in the oriental paintings is losing its characteristics of infinite world of imagination due to the additional description of visual life in the space.
As the method of close-up composition is usually applied to endow the paintings with meanings, the space is far more restricted, and instantly has the meaning of existential space.
This type of space in the close-up composition brings a removal of that of perspective composition and takes the form of plane figure in the end.
The technics of individualization based on the line-description method disappeared and the color began to play an important role in the modern paintings. So, it is difficult to classify the difference between the objects and background distinctively.
Such elements as shown in my works is chosen, through the image of a petit bourgeois, to illustrate the complexity of the space the objects secure and that of the canvas.
It still remains a question I should take in the future how to harmonize the intention I pursue through the works with the spirit of the oriental paintings, and how to develope my creative painting technics coping with the style and methodology of western paintings.
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