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自然의 現代的 表現 硏究

自然의 現代的 表現 硏究
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(A) Study on Modern Expression of Nature
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대학원 회화학과
자연현대적 표현미술회화
이화여자대학교 대학원
Sicne the beginning of time, nature has aroused man's perpetual interest and has induced our desire to express its mystery and grandiosity in various forms of art. Because nature is a unique combination of simplicity and complexity, each era of Man's evolution brought with it various expressions of its beauty. Moreover, as man's environment developed with time, expressions of nature through landscape paintings and artistry intensified into different concepts and forms. As more time passed, expressions of nature forcused more on its pure beauth; that is, art was used to reflect only the ideal beauty of nature. As a result, traditional methods of art were preserved and modern forms of expressions were late in coming. During the era of Samkuk to the Yi Dynasty, basis of Korean art was limited to Chinese art. Ideal landscape painting had been the major form of art until 18 C when landscape painting of actual view based on a practical idea began overwhelming the traditional forms of art. This landscape painting of actual view extracted Korean interpretations from Chinese art and made it into "our" art. However, in 19 C, landscape painting of actual view was discontinued due to unacceptability of the realistic nature of its expressions. It wasn't until the 1920's when expression on nature returned under a changed concept of beauty. As we look back over landscape painting from a modern point of view, this new form of expression was limited to only realistic expressions of scenery and space. In other words, traditional methods were copied and the originality of it was not changed which is vital in order to develop and modernize art forms. In my work, I tried not to stray away from the original traditional forms of art at the same time interpretting the old forms in a modern sense. Additionally, I tried to link the past and present by reluming influences of both the "old" and "new" forms of art. I plan to further study theoretical inter-pretations by studying books on art theory.;역사이래 自然은 人間의 끝없는 關心의 對象이 되어왔고 生活의 터전이었으며 그 신비스러움과 장엄함으로 해서 人間으로 하여금 늘 表現하고자 하는 欲求를 느끼게 한다. 自然에는 素朴함과 無窮無盡한 造化가 깃들어 있어서 自然을 畵面에 再現하기 위한 多樣한 表現技法이 開發되고 時代에 따라 다른 樣式이 형성되어 왔다. 그 위에 理論的 背景을 토대로 自然을 素材로 하는 山水畵가 더욱 發達되었다. 中國의 唐 中期 이후부터는 寫意性의 기초, 즉 '胞中山水, (觀念山水)가 중심이 되어 理想主義의 創作이 推進되었는데, 이로부터 中國繪畵는 寫意性·理想性·寫實性의 調和를 이루어 藝術의 내용이 극도로 發展하게 된다. 三國時代부터 朝鮮王朝時代까지 中國繪畵의 影響을 받았던 韓國繪畵 역시 朝鮮王朝 後期까지 觀念山水畵가 主流를 이루다가 18C 實學思想의 대두로 비로소 본격적인 實景山水畵가 展開되었다. 이것은 朝鮮朝 繪畵를 中國의 影響圈으로부터 끌어내 가장 '우리의 것' 답게 하는 데 큰 역할을 하였다. 그러나 以後 實景山水畵가 제대로 繼承되지 못하다가 1920年代에 들어와서 時代的 美意識의 변모라는 배경아래 다시 사실적 現實 描寫와 寫景이 크게 일어났다. 山水畵를 현대적으로 受容한다고 할때 공간의 새로운 解釋에서 可能하다는 것을 떠올릴 수 있다. 本人은 作品을 하는데 있어서 山水畵의 흐름과 傳統的인 精神의 槪念을 이해하면서 현대적 감각을 통한 個性的인 表現과 畵面 構成으로 새로운 方向을 摸索하고자 하였다. 또한 文獻 硏究를 통해 理論的 背景과 思想을 記述함으로써 過去와 現代의 관계를 추정해 보고자 하였다.
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