淡彩畵의 現代的 表現方法 硏究

Abstract

Whenever we think of Oriental Paintings, it's characteristics which have a roaring touch by making Chinese ink spread, run and soak into Chinese Drawing Paper with brush, struck us usually. When we look at our traditional Indian Ink paintings and colored paintings, it can be mentioned that the differences between Indian Ink paintings and colored paintings are made by placing an emphasis on technical aspects attaching importance to real sense of realities, on rather lyric and rhyme basis, than concreteness and technical basis. However, it can be said that the final object of the Indian Ink paintings and colored paintings is found to be the same one. In a word the both paintings have the same oriental characteristics, and the spiritual flow of attaching importance to "nature" can well be understood even in every aspects of poem, caligraphy, oriental paintings and music which have been used for building up our characters. In my works I tried to realistically express to seek for my own modeling properties, fixing time of wait-and-see of traditional oriental paintings at "one", based on my own subjective interpretation on beauty of nature. My works were made based on the basis spirit of the Southern School of Chinese Paintings, aiming at soaking effect of Indian Ink, and, in case of considering that expression only by Indian ink is found to be insufficient, I mixed "Thin Coloring and painted my works based on technique of light color picture. Accordingly, I limited only to "our tradetional Indian Ink and Light Coloring" aspects in understanding theoretical foundation of light color picture, considering characteristics of painting in Indian Ink, and I tried to examine definition and significance of Light color Picture. Moreover, I tried to examine the inclusive relationship of light color picture with coloring of painting in Indian Ink, and also, to examine characteristics of Light Color Picture. In addition, I tried to understand the basic spirit of light color picture in strength and framing, and also, to examine it's expression in coloring problem of Five Colors and Light and Shade being shown as "dark" and "bright". Thus, I tried to find corelationship between my works and techniques in category of "Indian Ink and Light Coloring", and also, I tried to understand works in Yi Dynasty based such viewpoint. In the end, I tried to apply a new expression method which can be adapted Today, on theme of "Nature" based on basic spirit of Indian Ink picture. In addition, this my study is aimed at giving a help to my further picture-making and presentation of direction for my works in future.;東洋畵라 하면 우선 화선지 위에 먹과 붓을 使用하여 번지고, 퍼지고, 스며들면서 우연히 나오는 효과를 필연적으로 이용하여 은은한 정취를 내는 특징이 있다. 전통적인 東洋畵인 水墨畵와 彩色畵를 보았을 때 차이점은 구체적인 것보다는 敍情的이고, 기교보다는 韻義를 앞세움과 사실적 현실감에 치중하여 기술적인 면을 중시하는 점으로 그 수법과 수련과정을 열거할 수 있으나, 그 궁극적인 목표는 동일하다고 말할 수 있다. 즉 양편이 다 東洋的 특질을 갖고 있으며 自然을 중시하는 그 精神의 흐름은 東洋의 人格陶治의 방편으로서의 詩·書·畵·樂의 모든 면에서 통하는 것이다. 本人의 作品은 自然美에 對한 主觀的인 해석으로 전통 東洋畵의 觀望하는 시점을 하나로 고정하여 나름대로의 造形性을 찾고자 하여 사실적인 표현을 하였다. 전통 南畵的인 材料와 技法을 바탕으로 하여 먹의 渲染효과를 위주로 하여 제작하되 먹색만으로 미흡하다고 생각되는 경우 淡彩를 혼용 제작하였다. 淡彩는 水墨, 彩色의 어느 편에도 속할 수 있다는 想念을 갖게 되는데 본 연구에서는 淡彩畵의 이론적 면을 연구함에 있어서 水墨淡彩를 中心으로 전통 水墨畵的인 측면을 고찰하였다. 또한 그 精神은 氣韻 및 寫意的인 면에서, 表現은 陰陽과 虛實로의 濃淡과 五色의 設彩 문제등을 살펴보고 본인의 作品의 연관성을 찾아 技法을 검토 연구하였다. 결국 水墨畵的인 精神으로 自然을 소재로 하여 본인나름대로의 표현으로 오늘에 적응되는 새로운 表現方法을 시도해보고자 하였고 본인의 제작의도 및 內容的인 면을 역사적인 관점에서 재고찰 함으로써 앞으로의 作品製作·方向提示에 도움이 되고자 연구하였다.