韓國抽象繪畵의 定立에 관한 硏究

Abstract

"A Search for the Foundation of Korean Abstract Painting has for its objects of study three successive parts; namely,(1)historical survey of the formation and development of Korean abstract painting, (2)definition of the characteristics of Korean abstract painting, and (3)methodological suggestion for the foundation of Korean abstract painting. To reach to the most successful, effective seclusion, the first part-historical survey-has been carried out by examining the true meaning of the abstract painting In the West where the term "abstract" was coined and Its historical and social background to make possible a comparative study of Korean abstract painting at each stages of introduction, formation, and development. The second part--definition of the character-istics-has also been carried out by comparative analysis of the lives and works of the Korean abstract painters who have played major roles in brief history of abstract painting In Korea to be able to find out the main stream and features of Korean abstract painting through their experiences and accom-plishments. And, finally, the third part--methodological suggestion-has been carried out by theoretically and empirically searching and distinguishing out typical examples of the most successful abstract painters and their works. Consequently, the survey has reached to the following conclusions. The first; abstract painting in Korea can lay claims to its contemporary existence with historical and social background of its own. The second; the main stream of Korean abstract painting consists of its naturalistic aspect of non-figurative paintings as shown In the majority of abstract creationism contemporary Korean painters. The third; trolly Korean abstract qualities are to be found in the rare works of the arrestive painters, whose life-long searches and experiments for outstanding expressive forma and colors of Korea have been exemplified in their later works. The fourth; Korean abstract painting can also lay claims to have a certain quality of abstract expressionism for its contemporary phase as an expressive outlet for advant-gard generations in Korea .The fifth; the foundation of toluyl Korean abstract painting requires no such regional classification as the Oriental versus the Occidental painting. And, finally: the recognition of a simple fact that the true foundation of Korean abstract painting is only accom-plished through the most effective cooperation of creative artists, social stimulations, and historical background.