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甲殼類 形態에서 抽出한 抽象化에 관한 硏究

Title
甲殼類 形態에서 抽出한 抽象化에 관한 硏究
Other Titles
(The) Formation of Extracted From the Shape of Crustacea
Authors
金惠蓮
Issue Date
1989
Department/Major
대학원 조소과
Keywords
갑각류형태추출추상화
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
自然가운데에 있는 삼라만상이 갖고 있는 形의 秩序를 再現한 것이 藝術作品에서 오랜 世起에 걸쳐 많이 응용되었으며, 美的인 것을 表現하기 위하여 藝術家들은 여러가지 對象을 多樣한 方法으로 表現해 왔다. 특히 現代에 이르러서는 많은 藝術家들이 自然의 對象物을 變形시켜서 自身의 內的 심상의 形象化를 追求하기도 한다. 本 硏究의 目的은 甲穀類의 形態를 變形하여 抽象化된 造形性으로 表現하고 硏究하는데 있다. 本 硏究의 內容은 原始時代부터 現代에 이르기까지 動物이 表現된 作品과 甲穀類의 生態的인 面에서 보여지는 造形性을 제시하였고 本 硏究의 作品製作에 있어서는 甲穀類의 명쾌한 형태에서 받은 인상을 造形的인 要素에서 중요한 線과 面을 連結하여 單純한 形態의 rhythm을 보여주므로서 중압적인 量槐로 表現하였다. 本 硏究의 方法은 문헌조사와 作品製作 및 分析을 병행하였다. 이와같은 硏究의 結果를 綜合하면 다음과 같다. 첫째, 造形要素속에서 주관적으로 形象化된 形態들은 單純하며 空間의 영역을 확장하는 量塊感을 갖는다. 둘째, 전체형에 있어서 曲線은 순환적인 흐름으로서 面과 面의 連結이 율동감으로 잘 表現된다. 세째, 율동적이며 柔軟하고 탄력이 있는 弓形曲面이 자연스러운 흐름으로 이어질때 갖는 實空間과 虛空間의 形成은 조화로운 關係를 이루면서 새로운 空間感을 創出한다. 네째, 地面에 닿는 mass가 적은 量塊는 視覺的 긴장감을 形成하며 表面의 연마는 膨脹感이 강화된다. 이와같이 甲穀類에서 찾은 造形性은 線, 面, 空間, 量塊, rhythm이 모두 포함되어 있으며 이러한 造形性은 本 硏究에 많은 도움을 주었다. 作品製作에서도 線, 面, 空間, 量塊, rhythm은 抽象性, 機何學的 形態의 硏究와 變形에 적용되었으며 앞으로도 많은 硏究의 對象으로 생각된다.;The reemergence of shape-order which everything in nature has, has applied over long centuries among the artistic works, and the artists have expressed all sorts of objects in the various ways to represent the beauty. Expecially up to the present, many artists have pursued the formation of the internal images of themselves by deformifg the objects in nature. The purpose of this study lay in the research and the expression into the presentation of the abstracted plasticity by transforming the shape of crustacea. The contents of this study suggested the expressed works of animals and the plasticity showed in the ecological aspects of crustacea from the primitive period up to now. In a work-modelling of this study, the received representation from the delightful rhythm of crustacea was presented in an oppressive quantity-lump, although simple by means of the connected rhythm between the important lines and the surfaces in the plastic elements. The method of this study was carried out side by side the investigation of literatures and the work-modelling or the analysis. The results of this study in all as follows ; First, the subjective formal shapes in the plastic elements was simple and had the quantity-lump feeling expanding the area of space. Second, in the overall shape, the curved line as a circular flow was expressed well as a feeling of rhythmic movement with the connection between surface and surface. Third, the formation of real space and false space, when the rhythmic, flexible and elastic crescent curved line was connected as a natural flow, create the new feeling of space achieving the harmonic relation. Fourth, the feeling of quantity-lump which have a little mass on the ground constituted the stress feeling, and the abrasion of surface increased the expansion feeling. Thus, the plasticity found in the crustacea had the line, surface, space, quantity-lump, and rhythm all, and it helped this study to be pursued very much. Also in the work-modelling, line, surface, space, quantity-lump and rhythm applied to the research of the dabstractive, or geometrical shape and is being though to be a object of a lot of sutdy in the future.
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