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韓國 現代彫刻과 表現材料

韓國 現代彫刻과 表現材料
Other Titles
Modern sculpture in Korea and Stuff for Expressions
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대학원 조소과
이화여자대학교 대학원
彫刻의 感覺形態는 具體的인 材料에 의하여 表現됨으로 이 表現에 근거가 되는 材料의 검토는 創作에서 중요한 課題가 된다. 더우기 激動하는 國際 狀況속에서 수많은 難題를 同時에 수용하며 胎動한 韓國 現代彫刻에서 表現材料에 대한 硏究는 必要한 것이다. 本 硏究의 目的은 韓國 現代彫刻에 나타난 表現材料의 分布와 변천과정을 糾明하므로서 材料가 어떻게 변천해 왔나를 찾아보려는데 있다. 硏究의 대상은 韓國 現代彫刻을 代辨할 만한 것으로 1949년에서 1981년 까지 持續되었고, 규모가 가장 큰 大韓民國美術展覽會를 有意標集하였다. 이 國展에 5회이상 出品한 作家 65명의 作品 877점을 대상으로 하였다. 위의 作品을 材料別, 時代別, 部門別, 年齡別로 分類하여 比較 分析하였으며 전체적인 경향을 白分率에 의하여 相關性과 變化狀況을 檢證하였다. 本 硏究에서 얻어진 結論을 요약하면 다음과 같다. 1. 時代의 변천에 따라 새로운 材料가 등장되고 그 사용빈도가 확장되는 것으로 보아 時代에 따라 새로운 材料와 技法을 導入하여 다양하게 實驗하는 것으로 보여진다. 2. 部門別로 본 表現材料의 分布 및 변천은 돌, 나무, 브론즈 등의 傳統材料는 모든 部門에서 고루 사용되고 있으나 새로운 材料는 抽象 部門에서 폭넓게 試圖되고 있다. 各 部門에 있어서 時代別 分布는 時代가 변천 할 수록 각각 特性을 가지고 다양하게 변화되고 있다. 3. 年齡別로 본 表現材料의 分布에서 50세 이상은 傳統材料를 많이 사용하고 40대와 30대는 새로운 材料를 고루 활용하고 있다. 具象·抽象에 따른 年齡別 材料의 分布를 보면 具象에서는 材料가 거의 한정되어 있고, 抽象에서는 40대와 30대는 다양하게 表現하고 있으나 50대는 具象보다 더 材料가 한정되어 있다. 이상에서 본 바와같이 韓國現代彫刻에서 그 表現材料의 分布와 변천은 時代別, 部門別, 年齡別로 상관성이 있는 것으로 나타났다. 따라서 韓國 現代彫刻의 表現材料는 表現意識과 시대 변천에 따라 그 實驗의 폭이 넓어지고 있으며 表現樣式이나 세대차에 따라 特性別로 材料에 대한 解釋과 독자적인 造形語法을 創造하여 表現 試圖가 광범하게 追究되고 있다.;In sculpture, the sensuous feeling of shape is expressed by specific stuff and, for this reason, it is very important to study the stuff as a basic element in creating works. Especially, it is necessary to study the role of expressional materials in sculpture because modern sculpture of Korea came into being against the background of fluctuating international situations and had contained a lot of difficulties in its initial stage. In this connection, we are going to focus the subject of this study on evaluating distribution and transition of the stuff for expression in Korean modern sculpture. The objects of this study are representative of Korean modern sculpture and they were based on the study of the biggest exhibitions named The Korean Art Exhibition which had lasted from 1949 through 198l. This treaties has as it object a total of 877 works from the 65 artists who had displayed their works at the exhibition more than five times. Above works are compared and analized by the methods of stuffs, period, field and the age of each sculptor. The general tendency of mutual relativity and the changing circumstances are shown by percentage. Following is the summary of the conclusion of this study; 1. In the course of time, new stuffs were came into being and after trial purpose they have been used frequently as methods of sculpture. It means that the sculptors experimentalized their works variously by using new stuffs and methods. 2. The traditional stuffs-stone, wood, bronze and etc - were being used in many ways in every field of sculpture but The new stuffs were being used mostly in non-figurative sculpture. In each area, the general tendency has been changing variously with its traits according to the time. 3. The comparison shown by the sculptor's age tells that the traditional stuffs were mostly used by the age of above fifties, and the forties and thirties enjoyed using new stuffs adventurously and in addition to that, the stuffs of figurative sculpture is quite limited than that of non-figurative sculpture and even in non-figurative sculpture. The stuffs using by the age of above fifties is much limited than in the field of figurative sculpture while works in the thirties and forties expressed with various stuffs. As we can see from the above analysis, in modern Korea sculpture, the range and the change of expressional stuffs have a certain relation by the time, the style and the sculptor's age. Finally it can be said that there was a struggle for an attempt to use new stuffs in their sculpture and it has been cointinuously pursuing for the understanding of the new staffs
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