作品을 통한 彩色畵 硏究

Abstract

In general, an Indian ink painting with an ink-stick as a painting material has been prevalently developed as an original mode of expression in the area of an Oriental painting. Nevertheless colored painting with varied colors, not a monochrome one, has also had its own strength. According to the inflow of Western civilization, Korean painting circles also meet the needs of induction of a colored painting briskly. As the society becomes urbanized and diversified more and more in these days, the primitive vivid color sense is required. Also with the artist's ability to be able to express unrestrictively and the spread of a colored picture, the confined Korean painting circles, that is monochrome painting-centered, have to be changed as well as developed in variety. However historically, Korean painting under the influence of Chinese painting had a trend to treat a colored picture lightly rather than a black-and-white one. According to the division into two separate schools of the North & South in Chinese painting, the literati and the intellectuals avoided a colored picture with technical skill as a vulgar one and overestimated the picture of the Southern School, namely, a monochrome-centered one. As a result, Korean painting style of a genre painting and landscape in 17th and 18 th century, which our original mode of painting was in full bloom, could not be succeeded and widespread. An Indian ink painting was the main stream of Korean painting. In Japanese Colonial Period, Korean painting circles suffered conflict against the resistence of the influx of Japanese painting style, even though its influence was strong, with the hostility between the two. Even to this time, the tendency to identity Korean colored painting with Japanese has been a hindrance in the development of Korean colored painting. Consequently this thesis is proposed to manifest the different aspects between Korean color painting and Japanese: in history and society through the comparision of the sense of beauty between the two. Also as the attempt to harmonize the Korean tradition with modern style of expression in my pictures, I try to examine the modern movement of Korean painting. This is probably of use in the development of a colored painting.;東洋 繪畵圈 안에서는 獨自的인 表現樣式으로 墨을 材料로 하여 表現하는 墨畵가 큰 領域을 이루어 發展해 왔다. 하지만 單一한 色이 아닌 多樣한 色을 使用하는 彩色畵도 커다란 脈絡을 가지고 發展해 온 것도 事實이다. 20世紀 初葉 西歌繪畵의 流入은 韓國畵에도 새로운 자극제가 되어 彩色畵가 發展하게 되었으며 時代的으로 社會가 점점 都市化되고 複雜해져 감에 따라 더욱 더 生命力있는 原始的인 色感을 必要로 하게 되고 自由롭게 表出할 수 있는 作家的 能力의 擴大와 함께 彩色畵의 幅을 넓혀 水墨畵 爲主의 단조로웠던 韓國畵壇이 더욱 多樣하게 發展되어 갈 必要가 있다. 그런데 오랜 우리 繪畵權 속에는 水墨畵보다 彩色畵 系列을 輕視하는 風潮가 內布되어 왔으니 이는 中國의 南·北宗畵의 區分으로 文人 階級과 知識層들이 技巧的인 彩色畵를 천한 것으로 忌避하고 水墨爲主의 南宗畵를 優越하게 評價하여 왔기 때문이다. 또한 20世紀 初葉 韓國畵의 境遇 大部分 日本畵의 影響을 받아왔기 때문에 아직도 韓國의 彩色畵를 日本畵와 同一視하는 傾向으로 韓國의 彩色畵 發展을 沮害하는 한 原困이 될 수 있다고 본다. 따라서 本 論文은 韓國人의 美意識과 日本人의 美意識을 살펴 봄으로서 韓國的인 彩色畵와 日本畵가 歷史的 社會的으로 달리 發展되어 왔음을 살펴봄으로써 彩色畵의 美的 價値를 把握하고자 한다. 다시 말하자면 美的對象으로써 素材의 選定을 韓國的인 것으로 選定하는 作品의 情緖的 共感帶의 層을 보다 우리것에 密着시켜 表現함으로써 韓國的인 彩色畵를 定着시킬 수 있다고 생각한다. 本人은 作品을 通하여 韓國의 傳統的인 것과 現代的인 表現 技法과의 造和를 이루어갈 수 있는 方向과 時代的인 要求에 따라 앞으로 實驗 精神에 立脚한 多樣한 表現으로 個性있고 獨特한 彩色畵를 그리고자 한다.