現代韓國畵의 抽象的 表現

서지정보

ㆍ발행기관 : 한국조형교육학회 ㆍ수록지정보 : 조형교육 / 6권
ㆍ저자명 : 李賢美

목차

Ⅰ. 緖論
Ⅱ. 韓國?象表現의 理論的 ?景
Ⅲ. 現代 韓國?象畵의 ?向
Ⅳ. 'Tache' 效栗? 살린 現代韓國畵의 抽象表現
Ⅴ. 結論
參高文憲

영어 초록

As an individual which cast the fortune of the same quality without distinction between East and West, today's world of art forward 21th century is now creating a pure formation which includes the expression of eternal life.
On commenting the abstract expression of up-to-date Korean painting, the datum as a realistic system is abbreviated boldly in any kind of pictures of our traditional drawings. And it is impossible to find the anatomical and three-dimensional preciseness even if it is a chosen subject.
That's the abstract spirit it self which puts the daily subject in the brackets and pursues the remainders. Therefore, this is to make it clear that Korean traditional painting is more abstract than 20th century European one even though it is impossible to deny the influence of European abstract on modern Korean Pictures( It is also not whole imitation ).
Besides it, this is to reconfirm the subject of this thesis, the expression of 'tache' gained from a strange effect like spots and dots is also our traditional technique of expression.
In this thesis, it try s examining that the technique of 'tache' have been maintained and developed from traditional painting through today's 1980s. Indeed, this is to grasp the 1960s' developmental status when the modern Korean abstract picture was broken out and built up through the activities of new groups like 「Mook-Rim Hoe」,「II- Shin Hoe」,「Cheng-To Hoe」,「Shin-Soo Hoed」, and 「Han-Kuk Seo Hoe」, which are prominent innovatory and experimental spirit, and through 'A Private View of Modern Artists' and 'A Preview of World Culture and Liberty'.
After that, 1970s, more wide developed period is observed the constant development of Korean abstract painting circles through [National Exhibition]. Finally, this is to find tendency of modem abstract, lively activity of young artists, and new unfolding and development of 'Tache' through 1980s' various exhibition of young and leading artists. These are for investigation of the scene of 'Tache' appeared on modern Korean pictures and for anticipation of future Korean picture's abstract through the works in exhibition, which made it easy to understand the modern tendency.
I group under several heads as followings; The all-round Group Exhibition same as 「Central Art Exhibition」,「Korea Art Group Exhibition of various kinds」, 「Korea Art 3 persons' Exhibition」,「Leewon Exhibition」,「International Morphology Black-and- white drawing League Exhibition」,「Hankil Exhibition」, In the private Exhibition I divide into coloring stress of Lee Kyung-Soo, Hwang Chang-Bae and india-ink stress of Chun Young-Hwa, Song Soo-Nam and the other persons.
In the various Exhibition as above, Formation of 'Tache' established by contigency continues to show empirical expansion, That is to say; This shows excellent painting technique of Korean Art inclined toward unknown future. Besides I analyzes into Park Bong-Soo, Suh Seo Ok, Min Kyung-Kap, Nam Kwan-Moon, Chun Young-Hwa, Shin Young-Sang, Song Young-Bang, Lee Jong-Sang, Chung Tak-Young, Chung Chi-Hwan of india-ink stress and Kim, Ki-Chang, Park Lae-Hyun, An Dong-Sook, Lee Kyu-Sun, Park Sun-Hee of coloring stress in applied work of 'Tache' expression among existing Korea Abstractionist. I search through 'Tache' expression explained by technique of necessary fortunity and contingency as to unique painting style and Painting of individual. Through it, I can find the Modern Korean abstract painting of ripe 'Tache' expression. I find that 'Tache' expression was transfigured into Korean abstract painting at present through research from new angle for painting and formation. To deepen understanding, I look for spirit of tradition which is a root of Korean abstract painting from thought of Taoist and Zen priest. Through it, we can learn a spirit of resistance transcended from worldly cares for newly-creation and spirit of free-release which Artist hold. Besides, I find a sufficient possibility gave aid to developing of Korean Painting in future with our seizing an apportunity for recognizing anew of Oriental spirit.
Goethe insisted "The most nationalist he most world". I remined Goethe's saying.
We look forward to the future of genuine Korean Painting which rises in the World through restoring with absorbing a spirit of newly-painting of the other nations with saving our tradition.

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