彩色畵의 現代的 表現方法에 對한 模索

Abstract

色彩란 東西洋畵를 莫論하고 繪畵의 基本原素로서, 다양한 色彩使用을 배제한 繪畵活動이란 항구적이며 보편성을 가지기 어려우며 不完全하다. 東洋에서 오랫동안 繪畵의 資料로 쓰여오던 먹빛만으로는 다양한 現代를 表現하기엔 不足함으로써, 彩色畵의 發達은 不可避한 일이다. 그러나, 西歐文明의 盲目的인 導入에 對한 憂慮와 日政때의 피해의식은 現代에서 彩色畵를 發展시키는데 障碍가 되고 있다. 이러한 障碍를 克服하고 하루 빨리 世界隊列에 參與하기 위해서는 彩色畵의 藝術性과 傳統性을 歷史속에서 재 조명하여, 現代感覺에 맞는 새로운 繪畵樣式으로 發展시키는 것이 重要한 課題가 되고 있다. 本 硏究의 目的은 다음과 같다. 本 硏究의 目的은 彩色畵의 傳統性과 藝術性을 규명하여 그 傳統精神을 現代感覺에 맞추어 現代的으로 表現하는 方法을 摸索하는데 있다. 本 硏究의 內容은 다음과 같다. 1. 彩色畵의 發達過程과 藝術性을 규명하였다. 2. 現代作家들의 作品을 면담을 通해서 分析하였다. 3. 作品製作을 通해서 表現方法을 摸索하였다. 本 硏究의 方法은 다음과 같다. 1. 文獻을 通하여 理論的으로 考察하였다. 2. 國內作家 5名의 作品 5점을 列攣, 素材, 技法, 材料 效果面에서 比較分析하였다. 3. 作品製作을 통해서 摸索하였다. 本 硏究의 結論은 다음과 같다. 1. 彩色畵의 傳統性 東洋畵는 王維를 祖宗으로 하는 南畵와 李恩訓을 祖宗으로 하는 北畵의 두 종류가 있다. 彩色畵는 北畵에 속하여 宮中의 畵院을 中心으로 發達, 극채를 썼으므로 화려하고 裝篩的이어서 富貴體라고도 불리웠다. 彩色畵는 唐을 包含 北宋, 南宋의 院體派畵의 代表的 表現方法으로 크게 隆盛을 보았으며 明末을 기하여 南宗文人畵에 밀려났다. 우리나라에서는 삼국, 통일신라, 고려를 통하여 회화(繪畵)의 주류를 이루었고, 李朝때에 와서 崇文思想의 結果로 色彩가 賤視되어 發展을 보지 못하였으나 宮中의 裝篩物과 뛰어난 畵員에 依해서 消極的으로 歷史를 이어왔다. 2. 彩色畵의 藝術性의 特徵은 寫實性, 裝篩性, 專門性 單一繪畵性으로서, 典型的이고도 固有한 技法, 材料, 方法으로 이루어진 純粹繪畵이다. 3. 傳統精神은 現代社會의 要求와, 그에 副應되는 自然主義思想을 바탕으로 하며 새로운 時代感覺에 맞추어 表現하는 데는 그 欠陷을 補完하여 現代의 內的, 外的인 리얼리티를 表現함으로써 實現되었다. 4. 現代繪畵를 發展시키는 데는 과감한 門戶의 開放과 國家的 차원의 保護育成과 材料의 國內開發이 시급하다.;Needless to say an Oriental or Western Painting, Colouring is a basic element of Painting. So, there is no Painting action in disregard of using colour. Because a Picture of the southern calligraphic school and an int-stick which have been used as painting materials for a long time, lack to express the present age, the development of a coloured painting is a natural phenomenon. But the worry about blind acception of western civilization and damaged consciousness from Japanese rule hinder the development of a coloured picture at the presentday. In order to surmount these hindernces and participate ranks of world, it is the important subject that we reflect artistic value and tradition of a coloured picture in history and change these into new painting mode fitted to modern sense. The purpose of this study is as follows. 1. the purpose of this study is to grope the modern expressive method of traditional spirit in painting by examining artistic value and tradition of a coloured picture closely. The contents of this study are as follows. 1. The development course and artistic value of a coloured painting are examined closely. 2. Through interviews with modern artists, works of them are analysed. 3. Through manufacture of work, the modern expressive method is groped. The methods of the study are as follows. 1. The theoretical study through documents is performed. 2. 5 Works of oriental painting by 5 Korean artists are examined in comparison and analysed. 3. Through manufacture of work, the modern expressive method is groped. The conclusions of this study are as follows. 1. The tradition of a coloured painting. There is two groups in Orental painting. One is the southern school of chinese painting in which "Lee, Sa Hoon" is the first main ancestor, and the other is the northern school of Chinese painting in which "Wang, You" is one. A Coloured painting belongs to the modern school of Chinese painting and develops mainly with a studio of the Imperial Court in the center. It is also called "riches and honours style" because of using dark colour. This coloured painting of the northern school originates at Tang dynasty, and culminates at Northern and Southern Song dynasty. And it thrives as a model expressive method of academy, but is drawn back by a picture of the southern calligrophic school at the end of Myeong dynesty. In our country, at Lee dynesty. it can't develop because colours are despised as the result of the thought that esteems learning. But by the decoration of the court and an excellent studio, negative history is succeeded. 2. The artistic characters of a coloured picture are reality, decoration, speciality, and Simple feature. And a coloured picture is pure painting composed of typical and peculiar technique, materials and method. 3. The traditional spirit of a coloured picture is naturalism. And then, to express it as new painting mode fitted to modern sense, first, the cause of degradation must be examined closely. Second, shortages must be filled up. Third, the external and internal reality of a present age must be expressed. 4. To develop the modern painting, the open-door policy, protection and rearing by the national dimension and exploitation of materials are urgent problems.