지원사업
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.
초록· 키워드
오류제보하기
In this study I have attempted to shed light on Kim KiChang's landscape commonly known as ''Babo Sansu" from the viewpoint of modernity and I came to the following conclusions.
To begin with, it is quite certain that Kim KiChang originally and artistically reinterpreted and made use of the traditional motives and feelings such as humor and simplicity in the Korean folk paintings. Though his motives can be easily found in the Korean folk paintings, we should not underestimate his own originality, to which the innocence, seeming far more childish, clumsy, and awkward in his paintings, may be attributed.
Moreover, he adopted and reinterpreted the beauty of comic, ludicrous humor of the Korean folk painting in his original style so that it can constitute the main sense of beauty in his "Babo Sansu". His paintings also reveal the beauty of simplicity through his efforts to boldly simplify forms, colors and composition.
The planeness of his paintings which were made possible by his liberal perspective and formation through a variety of compositions such as centralized, or enumerative or symmetrical ones, not only helped to establish his characteristic artistic construction, but also satisfied the formative characteristics of modernism, as I have tried to show.
We could also see that Kim KiChang successfully achieved the autonomy of the lines in his paintings by the frequent use of image language befitting to the modern age of image and the intense, spontaneous, rhythmic lines. And as for the colors in his ''Babo Sansu", five Korean basic colors are mostly used but his subjective expressiveness, and contrastive and decorative elements in colors are quite remarkable. Thus Woonbo's paintings, with emphasis on the intensity and purity of the colors, have sought the intrinsic value of colors themselves. In this respect, his art should be evaluated to have drawn closer to the essential meaning of modern art.
In conclusion, Kim KiChang's "Babo Sansu" is considered to be worthy of reevaluation in terms of odernity, since his paintings mark a turning point for the diversity and experimental spirit in Korean painting by enlarging the aesthetic realm resulting from the archetypal and collective unconsciousness and the anti-aesthetic attitude.
To begin with, it is quite certain that Kim KiChang originally and artistically reinterpreted and made use of the traditional motives and feelings such as humor and simplicity in the Korean folk paintings. Though his motives can be easily found in the Korean folk paintings, we should not underestimate his own originality, to which the innocence, seeming far more childish, clumsy, and awkward in his paintings, may be attributed.
Moreover, he adopted and reinterpreted the beauty of comic, ludicrous humor of the Korean folk painting in his original style so that it can constitute the main sense of beauty in his "Babo Sansu". His paintings also reveal the beauty of simplicity through his efforts to boldly simplify forms, colors and composition.
The planeness of his paintings which were made possible by his liberal perspective and formation through a variety of compositions such as centralized, or enumerative or symmetrical ones, not only helped to establish his characteristic artistic construction, but also satisfied the formative characteristics of modernism, as I have tried to show.
We could also see that Kim KiChang successfully achieved the autonomy of the lines in his paintings by the frequent use of image language befitting to the modern age of image and the intense, spontaneous, rhythmic lines. And as for the colors in his ''Babo Sansu", five Korean basic colors are mostly used but his subjective expressiveness, and contrastive and decorative elements in colors are quite remarkable. Thus Woonbo's paintings, with emphasis on the intensity and purity of the colors, have sought the intrinsic value of colors themselves. In this respect, his art should be evaluated to have drawn closer to the essential meaning of modern art.
In conclusion, Kim KiChang's "Babo Sansu" is considered to be worthy of reevaluation in terms of odernity, since his paintings mark a turning point for the diversity and experimental spirit in Korean painting by enlarging the aesthetic realm resulting from the archetypal and collective unconsciousness and the anti-aesthetic attitude.
목차
Ⅰ. 머리말
Ⅱ. 바보산수의 현대성
Ⅲ. 맺음말
참고문헌
Abstract
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