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Cubism 조각에 관한 이론적 고찰
- Cubism 조각에 관한 이론적 고찰
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- 대학원 순수미술과
- 이화여자대학교 대학원
- As for the history of fine arts has began with the history of mankind that the concerning about fine arts in these days it has remarkable significance that there has never example as before.
Modern fine arts has been much boomed in Europe country by 20 Century, however, fine arts in these days that it might never to be described like a micror by means of the natural true appearances itself no more longer. The Cubism is became appeared as negative as to the traditional ralism, and until today we thought the conception of the sculpture are less than paint- ing pictures, but the Cubism of modeling conception was brought up the new concept of space and it put into the sculpture fields. However, the cubism of sculpture were appeared by the influence of Cubismpainting, on the above ground that in order to make clear of Cubine modeling ideology that we have engaged In study related the Cubism of ideology and the formative character from the beginning the Cubism.
At firstly, we looking into this research of contents is that we have been handled to come by about supported the Cesanne of modeling view and African negro's sculpture have being influenced on the Cubism. Meanwhile, it has been handled the transfiguration processing course as through by synthesis of time period and to make analysis as the Cubist of works.
First in this thesis, we have been researched the Cubism was given to influence to the sculpture, and how they being connected with the between Cubism of sculpture and painting.·
Secondly, we have conducted survey and analyzed for the writer of activities and works through with the Cubism sculpture of development, I have looked into how to develop the special feature which was being appearned on the Cubism sculpture of formative sensibility by the Cubism sculptors. I had handled as sestheticaIly side are: In the next chapter, what influence given on the Cubism sculpture of development from African sculpture?
Finally, to what extent recognized for the Cubist's time and the concept of space The four dimention) of matter?
The resultant findings show that an attempt made for escaping from sensitivism in grasping from, senstivity and subject matter in cubism gave rise to intellectual or reason- able understanding, and the eye viewing the given subjects become alienated from external things, then Pursuing for internal ones.
Cubism has been orderly transformed in order, stands on a firm theoriticaL foundation, from which abstraction began to advent.;美術에 대한 歷史는 人類 歷史와 함께 始作되었으며 오늘날 美術에 대한 觀心은 前例없이 至大하다.
現代 美術은 20世紀에 이르러 유럽에서 큰 革新을 일으켰으며 오늘에 이르러 美術은 더 이상 自然의 모습 그대로를 描寫하는 거울이 되어서는 안되었다.
Cubism은 傳統的인 寫實主義에 대한 否定으로 나타났으며 Cubism의 造形 觀念은 彫刻에 있어서 새로운 空間 槪念을 불어 넣었다.
그러나 Cubism 彫刻의 出現도 Cubism繪畵의 影響에서 이루어 졌으므로 Cubism 彫刻의 造形性과 理論的 考察에 앞서 Cubism의 發端에서 부터 Cubism의 理念과 造形性에 관하여 硏究하였다.
本 硏究의 內容은 ' Cubism의 理論을 뒷 받침 해준 ┌p.Cezanne┘의 造形觀과 Africa黑人 彫刻이 Cubism에 미친 影響을 다루었으며, Cubism들의 繪畵나 彫刻 作品이 分析 綜合의 時期를 거치면서 變貌해 나가는 過程을 다루었다.
本論에서는 첫째, Cubism이 彫刻에 어떠한 影響을 주었으며 Cubism 彫刻과 繪畵가 어떻게 連結되는가를 分析해 보았고, 둘째, Cubism 彫刻의 展開를 통해 作家들의 活動과 作品을 分析 評價 했으며, 세째, Cubism 彫刻의 造形 感賞에 나타난 特徵的 要素를 Cubism 彫刻家들이 어떻게 發展시켰는지 살펴 보았다.
다음 章에서는 Africa 彫刻이 Cubism 彫刻에 어떠한 影響을 주었는가? 또한 Cubism이 抽象 美術에 어디까지 接近했는가? 끝으로 Cubist들이 時間과 空間(四次元)의 問題를 어느 정도 認識하고 있었는가? 등을 美學的인 측면에서 다루어 보았다.
本 硏究의 結果 Cubism이 形態 感賞과 對象 把握에 있어 감각적인 것에서 탈피하려는 시도는 利知的이며 知的인 認識을 가져다 주었고 對象을 바라보는 눈은 外面的인것에서 멀어져 갔으며 內面的인 世界를 추구하계 된다.
Cubism은 形成되어 변모해 가는 과정이 秩序 整然하였고 확실한 理論的 근거를 가지고 있으며 抽象의 發端도 여기에 있는 것이다.
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