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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
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The sculpture IS an art traditionally appreciated by a 3-dimentional object resting on a pedestal. However, there was a big change in the 20th century sculpture, which is a disappearance of the pedestal. Now, the sculpture comes out from an aesthetic space on a pedestal and move into the ontological space.
Reconsideration on the traditional pedestal began since Rodin at the end of the 19th century continues to the Brancusi and Giacometti in 20th century. They made a new approach toward the pedestal by possessing it in the sculpture itself. They treated it not as a means of supporting object rather as much as the sculpture itself, moreover as a key visual element which consist the sculpture.
Rodin escaped from the traditional pedestal of a monument which made people to view in certain height and distance. Instead, he presented an environmental pedestal which enable to realize the monumental portrait within the relationship between people and the environment.
Through an operating pedestal, Brancusi showed not only the relationship between the sculpture and the pedestal but also destroyed the conceptual division between them just like the case that the pedestal became the sculpture itself, or using daily object as a pedestal.
In order to express the figure as an existential human in relation to the space, Giacometti presented it with a least amount of volume yet with the maximized pedestal. His pedestal has no division with the figure at the same time it is not dividing it with the space. Therefore, his pedestal is a part of a figure as well as a place where an object is resting on.
From the traditional pedestal to argues on the reasonableness of its existence, this new approach toward the pedestal contributed to the future generation artist by presenting the chance to reconsider about the issue on the pedestal in various points of view.
Reconsideration on the traditional pedestal began since Rodin at the end of the 19th century continues to the Brancusi and Giacometti in 20th century. They made a new approach toward the pedestal by possessing it in the sculpture itself. They treated it not as a means of supporting object rather as much as the sculpture itself, moreover as a key visual element which consist the sculpture.
Rodin escaped from the traditional pedestal of a monument which made people to view in certain height and distance. Instead, he presented an environmental pedestal which enable to realize the monumental portrait within the relationship between people and the environment.
Through an operating pedestal, Brancusi showed not only the relationship between the sculpture and the pedestal but also destroyed the conceptual division between them just like the case that the pedestal became the sculpture itself, or using daily object as a pedestal.
In order to express the figure as an existential human in relation to the space, Giacometti presented it with a least amount of volume yet with the maximized pedestal. His pedestal has no division with the figure at the same time it is not dividing it with the space. Therefore, his pedestal is a part of a figure as well as a place where an object is resting on.
From the traditional pedestal to argues on the reasonableness of its existence, this new approach toward the pedestal contributed to the future generation artist by presenting the chance to reconsider about the issue on the pedestal in various points of view.
목차
Ⅰ. 들어가는 글
Ⅱ. 로댕 : 기념비의 환경적 구성으로서의 받침대
Ⅲ. 브랑쿠지: 조각-오브제로서의 가동적 받침대
Ⅳ. 쟈코메티 : 실존적 공간의 확장으로서의 받침대
Ⅴ. 맺는 글
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-605-018445812