現代彫刻에 있어서 vitality에 關한 硏究

Abstract

物質文明의 비상한 發達에도 不拘하고 精神文明이 크게 後退하고 있는 現代文明속에서 人間은 새로운 救援과 「비전」을 찾고자 努力하고 있으며 非人間化의 狀況속에서 살아있는 藝術은 人間精神의 無限한 可能性을 包含하고 있는 生命性을 渴求하며 느끼고 싶어한다. 現實을 보면서 永遠한 生命을 지니게 하는 藝術家의 生命의 表現은 곧 藝術的 表現의 標的이요 核인 것이다. 그러므로 生命을 表現한 彫刻은 그 自體의 生命力과 表現力을 지닌 힘을 作品속에 나타내므로서 現代의 疎外된 人間에게 살아있는 昇華된 精神의 世界를 引導하고 人間의 가장 根源的 生命意識을 鼓吹시킴으로써 그가 屬한 時代나 社會의 健全한 精神的 知的 狀況을 올바로 反映시켜서 이끌어가고 있는 것이다. 그러므로 이들 選定된 몇 作家의 作品속에 나타난 Vital Image를 通해서 보다 根源的 生命力과 表現力을 追究 하므로서 참다운 藝術에로의 指向을 위한 하나의 契機로 삼고자 하는 것이다. 本 硏究의 目的은 現代彫刻에 나타난 生命의 表現들의 根源과 樣相을 理解하므로서 現代彫刻에서 나타낸 生命力과 表現力은 무엇인지 把握하고 또 그 生命的 이미지는 어떤 形態로 表現되었는지를 分析 糾明하는데 目的이 있다. 本 硏究의 內容은 Vitalism의 槪念과 展開樣相을 理論的 背景으로 갖고 그 根源과 함께 理解하려 하였으며 造形藝術에서 가장 重要한 生命力과 表現力은 어떤 意味를 지니는지 把握하려 하였고 現代彫刻家의 作品에서 각기 다른 形態로 表現된 Vital Image를 分類하여 分析하였다. 本 硏究의 方法은 Vitality에 對한 理論展開는 文獻을 基本道具로 해서 理論은 要約해서 論述하는 記述的 方法을 使用했다. 또 Vital Image를 두드러지게 表現한 代表的 作家를 任意로 選定해서 그들의 作品을 有意表集하였다. 本 硏究의 結果 現代彫刻의 發達過程에서 Vitality의 表現은 지금까지 美術歷史에서 다루어진 어떤 展開된 樣式만큼이나 歷史的인 重要性을 가지고 있다. 現代彫刻家들의 Vital Iamge에 依한 表現은 각기 다른 形態로 作家의 精神性을 바탕으로 나타났으며 그 形態는 作家의 內的過程과 一致하고 精神 材料 技法 獨創性에 依해서 具體性을 찾을 수 있는 生命力의 集約으로서 이루어 졌으며 現代彫刻의 發展은 Vital Image에 依한 作品에서 잘 指摘된다.;For all the extraordinary progress made in materialistic civilization, human beings are trying to seek a new relief and "vision" in modern civilization which is greatly retrogressing, and earnestly desires for, and would like to feel arts alive in the state of dehumanization, vitality which includes the infinate possibility of human spirits. Artists' "expression of life" giving eternal life with a keen insight into reality is the very target and nucleus of artistic expression. The vitalistic sculpture leads the alienated human beings of modern times to the world of living, sublimated spirits by showing the vitality and power of expression of itself in the works and, therefore, it bears a great significance to study these sculptors who, by inspiring the prfmodial human conciousness of vitality, take initiative in reflecting correctly the sound spiritual and intellectual aspects of the times or society they belong to. I would like to make this as a momentum towards the way of true arts by pursuing more primodial vitality and power of expression througt the vital image shown in the works of a few selected sculptors. The purpose of this study is to analyze and examine in what forms the spirituality and vitality immanent in vitalism are expressed in the diversified phenomena of modern arts, and what the vitality and power of expression are in the formative will shown by sculptors. The content of this study consists of attempting to understand the concept and patterns of development of vitalism together with its source with theoretical background, grasping what significance the vitality and power of expression which are most important in formative arts have, and analyzing vital image which is shown in different forms in the works of vitalistic sculptors. As the method of the study, a theory on vitality was roughly developed with literature as the basic instrument and the descriptive method of enunciating in summary was used for theory. And those representative sculptors who express vital image remarkably were selected optionally, and their works collected attentively. Results of the Study: In the process of the development of modern sculpture, expression of vitality has as much historical importance as any other developed form that has ever been dealt up to date in the history of mankind. The expressions of vitalistic sculptors by means of vital image have been shown in different forms based on the spirituality of the sculptors. The form agrees to the inner process of sculptors, and intensively consists of vitality of which the concreteness can be found by means of spirit, material, techniques, and originality. Therefore, the development of modern sculpture is indicated best in the works of vitalistic sculptors.