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水墨畵의 精神과 새로운 技法硏究

Title
水墨畵의 精神과 새로운 技法硏究
Other Titles
(A) Study on the Thought and a new Technique in The Indian Ink Painting
Authors
蔡聖淑
Issue Date
1983
Department/Major
대학원 회화학과
Keywords
수묵화정신새로운 기법회화
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
안동숙
Abstract
역사의 흐름은 모든 양식의 변모를 요구한다. 藝術도 文化의 조류와 時代的 變化에 따라게 된다. 이러한 時代的 요청에 부응하여 東洋畵에 대한 새로운 시도가 이루어지고 있다. 본인의 作品도 傳統的인 水墨畵의 寫意的인 면을 중시하고 종래의 水墨畵 技法인 米點法을 써서 독창적이고 개성적인 表現을 시도하였다. 그러므로 本人은 직선적이며 딱딱한 질감의 기와와 반대로 둥글고 양감을 주는 人物과 해바라기를 米點法이라는 同一한 技法으로 재현해 보았다. 이러한 시도는 전통적인 水墨畵의 潑墨法에 근거를 두면서도 새로운 분위기를 시도해 본 것으로 水墨畵의 새 方向을 모색해 본 것이다. 따라서 본 論文의 Ⅱ장에서는 그림의 理論的 背景으로 水墨畵의 정의 및 영역 그리고 정신을 살펴보았고, Ⅲ장에서의 技法에 관한 것으로 設彩와 技法에 대해 설명하였다. Ⅳ장에서는 本人이 제작한 作品에 대해 그 제작과정과 技法을 설명했다. 결국 本人은 水墨畵的인 精神으로 自然을 소재로 하여 時代的 要求에 부응하는 새로운 表現方法을 시도한 것이다.;In the course of work with the Indian Ink Painting, which is prevalent one in the Oriental Painting, expression of the artist's idea is much more restrictive than that of any others for its deep-rooted tradition: a basic principle with emphasis on describing thoughts, not real things as well as a routine way of expression. The tradition, adequate as it used to be in describing philosophical thema, can hardly avoid remaining unchanged in the challenges of rapidly flowing cultural trends and especially with the impact of the western Painting. In response of the trends of these days, there have arisen many new trials in the work of the Indian Ink Painting. Here I've made another new one. I have chosen, as staffs, the roofing tiles with impression of squareness and harshness and, in contrast of those, girl's faces and sunflowers with that of roundness and volumiousness. And I have made a study on the influence which a painting technique could exert on the stuffs with quite different impressions. As far as the basic principles and the painting technique are concerned, I have the faith to observe the traditional prevalence with the modern variant of the old- dated technique of MI-JEOM. Chapter Ⅱ of this article reviewed definitions, spheres and thoughts of the Indian Ink Painting as its theoretical basis. In chapter Ⅲ, concerning the painting technique I have made an observation on coloring and technique of Mi-JEOM. Chapter Ⅳ gives explanations and comments to seven pieces of my work which I've made during the past two years, especially on its tone and technique. In conclusion, I've made a challenge in the method of expression to be applied in these days, with the nature stuffing, on the basis of the thought indigenous·to the Indian Ink Painting
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