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새로운 形象表現 硏究
- 새로운 形象表現 硏究
- Other Titles
- (A) Study on New Figurative Expression in Oriental Painting
- Issue Date
- 대학원 회화학과
- 새로운 형상표현; 형상
- 이화여자대학교 대학원
- 近來에 이르러 抽象繪畵가 처한 現實과의 斷絶 狀況을 克服키 위한 一環으로서 現實性과 寫實性을 追究하는 形象性의 探究가 多角的으로 擡頭되고 있다.
本 硏究의 目論은 形象性에 對한 造形意識의 定立과, 동시에 獨自的인 視角과 方法論을 摸索하여 오늘날의 形象美術에서 劃一化 내지 類型化를 脫皮하고 보다 獨創的인 作業을 하려는 데 있다.
따라서, 本 硏究에서는 史的 考察과 東·西 比較硏究 方法을 取해 먼저 새로운 形象表現의 特性을 槪觀하고, 東·西의 寫實主義를 比較하여 理想的인 原理를 摸索하고, 李朝末期以後의 畵壇의 흐름을 槪觀하며 形象性 探究의 必要性을 糾明했다.
그리고 實際 作業에서 形의 寫實만을 要諦로 하는 西洋의 寫實主義와는 달리 形을 取하되, 寫意를 要諦로 삼고, 事物이나 現狀의 單純한 再現이 아닌, 外的世界와 關係하는 人間 삶의 眞實을 映象化하여 形似와 寫意의 調和를 志向했다. 그리고 돌, 나무, 모래, 窓등 사소하고 日常的인 形象을 通해 現實과 事物의 이미지를 表現하면서 畵面內에서 東洋畵 材料의 特性을 살린 表現方法, 造形要素의 諸問題를 硏究했다.
마지막으로 結論에서는 그동안 硏究했던 問題를 整理하면서 보다 創造的인 繪畵를 위한 앞으로의 方向을 摸索하고자 했다.;In recent years, the abstract art is confronted with the grave situation of discontinuance from the actuality, and the diversified study of the character of forma is under way for the purpose of tiding over such adversity in art on the basis of pursuit of actuality and reality.
The purpose of this study lies in the establishment of the real character of the object and the painter's feeling of drawing as well as the consciousness of forming by seeking the independent point of view and the unique methodology, and thus I daringly intend to break from the standardized ana stereotyped figurative art, and produce the up-to-date creative work of art.
Therefore, the historical researches were made in this study and the method of comparative study of the East and the West was devised in order to take a general veiw of the distinctive qualify of the new figurative expression and compare the East-West realism, and thus, I did intend to seek for the principle of genuine descriptive spirit and made a comprehensive survey of the current in the painting circles after the Yi Dynasty and traced the necessity and what should be of the forme expression.
I intended to stress the real character of the object and the painter's feeling of drawing as mentioned above in which the forma is considered as important, apart from the realism of of the West which is inclined to stress the reality of forme in the practical field of work of art. In addition, the utmost efforts were made to find the harmony between the forme and painter's feeling of drawing on the basis of visualization of the true life of human being closely related to the whole world, instead of mere reproduction of the things or the situation.
Expressing image of the actuality and things strongly representing our world throughout the usual forma such as stone, tree, sand, window, etc., I tried to solve the problems of the active expression of the materials of Oriental painting, and the elements of forme as well.
In conclusion, I intended to rave the way for the creative art in the future in the course of streamlining the matters which I have been studying regarding the Oriental painting up to data.
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