View : 60 Download: 0

송영수의 작품과 조형성

Title
송영수의 작품과 조형성
Authors
최화숙
Issue Date
1979
Department/Major
교육대학원 미술교육전공
Publisher
이화여자대학교 교육대학원
Degree
Master
Abstract
Since the modern art started its first step around 1910 in Korea, unfortunately the study on the procedure of the change In modern sculpture has not been wade in spite of its necessity because of poor understanding on the methods and materials of representation as well as on the sculptors themselves. The purpose of the present study is to analyze the Song Young Soo's styles of representation on the chronological order materials used among his works and to study his world and its relationship with other modern sculptures. For these purposes the methods are as follows: First of the collection and chronological analysis of the works by Mr. Song Young Soo and his other works which Mrs. Jeong Sook Song keeps. Secondly, systematizing the procedure of growth in this works during 17 years from 1953 to 197O, and investigation the relationship between the images of the works and their styles of representation. Thirdly study of what he contributed to the history of sculpture in Korea. The Song Young Soo's sculptures can be classified into the realistic, the abstract and the monumantal styles. The materials used are copper, iron, marble, plaster, terra-catta and wood. Of these, iron sculpture was his specialty. The realistic aspect is found In the works about mankind which were sculptured during the period from 1953 to 1956. The important subjects of the works in this period are Hope(Fig. 1) 「group」Fig. 2) 「Family」(Fig. 3) 「Fruth」(Fig. 4) and Sound (Fig. 5). The characteristics is that man was described as plane neglecting the delails of human body. The abstract sculptures include 「non-existing」(Fig. 9) 「horror on nucleus」(Fig. 12)「Sublimation」(Fig. 18)「Bird」(Fig. 26) 「Martyrs」(Fig. 34) which were sculptured during the period from 1957 to 1970. Birds were the main object of his works. In this period characteristic of his works is in the constructive symmetrv and spatial stability. The monumental sculptures are copper statue, monument tower, and ornaments which were made durings the period from 196l to 1970. The typical statues are 「Yi jun yeal sa」(Fig. 48) 「Saint Samyeong」(Fig. 53), 「Saint wean hyo」(Fig. 54). The manumental towers include Unification (Flg. 50) and 「Seongmudae」(Fig. 51). The statues are realistic whereas monument towers are abstract. Song Young Soo's sculptures from 1950 to 1970 are characterized by using the various kinds of materials which are belived to have been derived from the transitional procedures from realistic to abstract styles. However iron was the main materials used. The complex styles of realism, absolutism and Surrealism are characteristic in the monuments. From the investigation of the whole procedure of growth in the Song Young Soo's arts the present author can find distinct motive and cause that brought the change of representation from one style to another. His abstract works are devided from systematic ordering of the realistic representation. They are styles which have been derived from purifying the logical motive within then, and they have been created deductively rather than inductively through many improving steps. In a word, the vitality of human body can be sought even in the abstract works. This vitalitv helps to emphasize the rhythm which is not simply geometrical but of lively characters containing human vitality. The rhythm caused not only the feeling of organic living, but also poetic illusion. It can be concluded that the Song Young Soo's art later had great influence on the works by the students of modern sculpture at its early stage of development.;韓國의 現代美術이 1910年代를 전후하여 발달하기 시작한 이래 彫刻界에서는 彫刻의 表現樣式이나 表現材料 그리고 作家에 대한 硏究가 未洽하여 韓國의 現代彫刻의 變遷過程에 대한 硏究의 必要性을 느끼면서도 活潑하게 硏究되지 못하였다. 本 硏究에서는 宋榮洙의 作品表現樣式을 時代別로 材料別로 分析하고 整理하여 宋榮洙의 作品世界와 現代彫刻과의 關係를 考察하는데 그 目的이 있다. 이를 위한 硏究方法으로는 이미 發表된 宋榮洙의 作品과 司空貞淑이 소장하고 있는 作品들을 蒐集하고 分析해서 時代順으로 分類했으며 둘째로 그가 作品活動을 하기 시작한 1953年부터 作故한 1970年까지의 17년간에 제작된 作品들을 中心으로 作品의 成長過程을 통하여 變貌되어가는 과정을 考察하고 樣式上의 特性 내지 作品上에 나타난 이미지와 表現과의 상호관계를 硏究하였다. 셋째로 그가 韓國彫刻史에 남긴 寄與度가 무엇인가를 考察하였다. 宋榮洙의 彫刻은 具象的인 表現, 抽象的인 表現, 그리고 紀念碑的인 表現의 作品으로 나누어 볼 수 있으며 表現材料로는 銅. 鐵, 大理石, 石濤, terra-ootta와 나무 등으로 廣範圍하며 그 중에서도 特히 철재의 使用에는 특기할 만 하다. 宋榮洙의 作品樣式을 分類해 보면 具象系統외 作品은 1953년부터 1956年까지의 作品中에서 볼 수 있으며 주로 人物을 對象으로 하였고 여기에 나타나는 人物像은 「희망」 (도1) 「群像」(도2)「家族」(도3)「眞理」(도4 )「鄕」(도5) 두사람(도6) 十字苦像I(도7) 十字苦像II(도8)등이다. 이러한 作品들의 特性을 寫實的 描寫의 추구 및 造形性에 관한 硏究過程으로서 人體의 세부는 省略하고 면으로서 처리하고 있다. 抽象系統외 作品으로는 1957年 이후 1970年까지의 作品들로 「不在의 나무」(도9)「핵의 공포」(도12)「승화」(도18)「새」(도20)「순교자」(도34)等의 많은 作品이 있으며 새의 주제는 그가 즐겨 다루는 주제로 作品의 主流를 이루고 있다. 이 時期의 作品들의 造形的 特性은 構築的인 균제미와 공간의 安定性에 있다. 紀念碑的인 계통의 作品으로는 1961년부터 1970年까지의 作品들로서 銅像과 紀念塔 및 장식조각이 있으며 銅像으로는 「李 像烈士像」(도48)「泗溟大師像」(도53)「元曉大師像」(도54) 등이 있고 紀念塔으로는「統一塔」(도50)「星武臺」(도51)등이 있다. 銅像은 寫實的인 表現方法으로 製作되었고 紀念塔은 油象表現으로 製作되었다. 이와 같이 宋榮洙의 作品表現은 1950年代부터 1970年代에 걸쳐 具象傾向에서 抽象傾向으로 表現樣式이 變貌되어 가는 과정에서 多樣한 材料를 가지고 作品을 製作했으며 鐵材를 가장 많이 使用하였다. 또한 紀念碑製作의 表現은 具象, 抽象, 超現實的인 複合의 綜合形態로 樣式化된 表象이 나타났음을 볼 수 있다. 이와같이 宋榮洙의 作品活動은 初創期 한국 現代 彫刻界의 후진들에게 많은 영향을 주었다.
Fulltext
Show the fulltext
Appears in Collections:
교육대학원 > 미술교육전공 > Theses_Master
Files in This Item:
There are no files associated with this item.
Export
RIS (EndNote)
XLS (Excel)
XML


qrcode

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.

BROWSE