現代的 空間構成 硏究

Abstract

繪畵에 있어서 空間構成은 作品의 表現에 있어 중요한 要素이며 畵面의 構圖를 말한다. 構圖란, 그림을 통하여 自己의 思想이나 感情을 表現하는 하나의 方法으로 畵面의 秩序를 말하는데 過去의 繪畵에서는 매우 限定된 形式으로 자연의 秩序를 模倣하거나 再現하는 行爲에 지나지 않았다. 宋나라 말기에 와서 構圖上 法則의 理論的 完成을 보는데, 즉 郭熙의 三遠法이다. 그의 三遠法은 東洋畵에 있어서 많은 技法들의 발전과 더불어 山水畵의 발전에 큰 역활을 하였다. 그러나 그동안 三遠法이상 더 이상의 발전을 하지 않고 있던 傳統 東洋畵에 대하여 現代 感覺을 받아들여 限定된 遠近法을 답습하지 않고 作家의 意圖를 觀覽者에게 傳達하여 줄 構圖法이 要求되어졌다. 本 論文에서는 傳統 東洋畵의 구도와 기법의 연구를 理論的 基盤으로 하여 동·서 문화의 交流에 의해 넓어지는 繪畵의 범주를 받아들여 傳統的인 東洋畵의 構圖에서 벗어나 새롭고, 좀더 우리의 視覺에 와닿는 現代的인 空間構成을 硏究해 보고자 한다.;Space from or composition is one of the most important elements in painting to express the idea and the emotion of a painter. In the past painters had composed their works in quite limited ways: they had imitated or copied the order found in nature as it was or is. At the end of Song Dynasty the composition of oriental painting was completed by a Chinese painter named Kwag Hee. His basic theor about painting composition is so called Sam Won Beop which means three ways in perspective; Kowon is to see the top of a mountain from its bottom; Simwon is to see the back vista of a mountain standing in front of it; Pyongwon is to see mountains far located from a near mountain. His theory had played an important role in developing oriental painting with the enhancement of a variety of techniques Painters today, however, are not and cannot be satisfied any more withthis simple theory. They need now the sort of composition in which they can deliver their intention to those who appreciate their works. As a result, a new dramatic shift in composition theory took place. In this thesis the new composition watched and required by modern painters, that is liberated from any traditional composition, is analysed on the basis of the study about the techniques and the composition used traditionally in oriental painting while accepting the enlarged category of oriental painting caused by the exchange of cultures between East and West.