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
1970's in Korea was an unfortunate period when severe political circumstances regulated the social and cultural atmosphere of the country. As a result, many critics defined the decade as the period of conceptualization and uniformity. The Korean Monotone (Dansaek) Paintings were the mainstream of the period, and they absorbed the diverse small group movements in 2D(painting) and 3D(object and installation) from the first half of the decade.
Lee Ufan was one of the most important energy of the period both with his works and with theory and aesthetics. As is well known, he was the leader of the Monoha and was also the figure who influenced most of Korean Dansaek painters. He was also the bridge between Korean and Japanese modern art, and his Monoha theory was extremely popular to the Korean young artists.
Monoha was a matter-oriented movement but matter itself was not the point. It was the relationship between matter and man, and consequent relationship between world and man. This Monoha was active between 1969 and 1971 in Japan and Lee retired from the debate on Mohoha in 1971 and tried to End a new way in painting. He exhibited his first monotone paintings 〈From Point〉 〈From Line〉 in 1973 although he did not give up his scupture. In Korea, his Monoha theory which was on 3D so to speak, was translated into Dansaek Paintings while its material character was also emphasized to sustain the communication between matter and man. In fact, Lee Ufan made it clear that Mohoha was not about matter, and his paintings had nothing to do with material side of the medium. Dansaek painters once kept the material side only to reduce it in order to reach the spirituality of the aesthetics. of traditional paintings.
Also, Lee's early illusionistic paintings before Monoha was important because his 〈Phemomenon and Perception〉 made by broken glass plate with a rock was not a Mohona but a trick work which was widely excercised by pre-Monoha artists then. Further, Quae Insik, a Korean artist who setteled in Japan since 1950 and helped and led Lee to modern art, was claimed as a forerunner of the Monoha by a few critics such as Minemura Toshiaki. Lee denied his role in Monoha and influence from him, but certain works and his early interest in matter tell that was not the case.
Lee Ufan was one of the most important energy of the period both with his works and with theory and aesthetics. As is well known, he was the leader of the Monoha and was also the figure who influenced most of Korean Dansaek painters. He was also the bridge between Korean and Japanese modern art, and his Monoha theory was extremely popular to the Korean young artists.
Monoha was a matter-oriented movement but matter itself was not the point. It was the relationship between matter and man, and consequent relationship between world and man. This Monoha was active between 1969 and 1971 in Japan and Lee retired from the debate on Mohoha in 1971 and tried to End a new way in painting. He exhibited his first monotone paintings 〈From Point〉 〈From Line〉 in 1973 although he did not give up his scupture. In Korea, his Monoha theory which was on 3D so to speak, was translated into Dansaek Paintings while its material character was also emphasized to sustain the communication between matter and man. In fact, Lee Ufan made it clear that Mohoha was not about matter, and his paintings had nothing to do with material side of the medium. Dansaek painters once kept the material side only to reduce it in order to reach the spirituality of the aesthetics. of traditional paintings.
Also, Lee's early illusionistic paintings before Monoha was important because his 〈Phemomenon and Perception〉 made by broken glass plate with a rock was not a Mohona but a trick work which was widely excercised by pre-Monoha artists then. Further, Quae Insik, a Korean artist who setteled in Japan since 1950 and helped and led Lee to modern art, was claimed as a forerunner of the Monoha by a few critics such as Minemura Toshiaki. Lee denied his role in Monoha and influence from him, but certain works and his early interest in matter tell that was not the case.
목차
Ⅰ. 1970년대와 이우환
Ⅱ. 모노하와 물성
Ⅲ. 이우환의 시각적 트릭 작업
Ⅳ. 곽인식 문제
Ⅴ. 맺으면서
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
1960-70년대 한국 조각에 표현된 물질성
현대미술사연구
2005 .06
-
한국 모노크롬 회화의 맥락 읽기
현대미술학 논문집
2009 .12
-
1970년대 한국 단색조 회화 : 무한 반복적 신체 행위의 회화 방법론
현대미술사연구
2014 .12
-
회화의 위기, 회화의 대안
미술이론과 현장
2004 .01
-
회화를 통한 실재의 추구 - 일본 트릭아트와 한국 극사실 회화
한국근현대미술사학
2020 .07
-
화문과 화제의 분류체제
미술사논단
2018 .06
-
이용우(李用雨, 1902-1952)의 ‘묵로’시대 회화 연구 : 인물화와 화조화를 중심으로
한국근현대미술사학
2018 .12
-
1990년대 한국화 읽기를 위한 제언 : 박생광 이후 채색화의 부흥과 영향
미술사논단
2018 .06
-
근대기 지방화단 연구 : 서울화단과의 영향관계를 중심으로
한국근현대미술사학
2009 .12
-
죽화(竹畵)의 유형과 분류체제의 정립을 위한 시론
미술사논단
2018 .12
-
고려 초기 회화의 조명
미술사논단
2019 .06
-
중단회 회화사 : 戰後 일본의 추상회화
미술사논단
2013 .12
-
고려 중기의 북송과의 회화 교류
미술사논단
2019 .12
-
개화기 화단의 신경향과 잡화병
미술사논단
2008 .12
-
道岬寺 觀世音菩薩三十二應幀의 圖像 硏究
미술사학연구(구 고고미술)
2003 .12
-
19세기 「朝鮮書畵傳」을 통해 본 韓日 繪書交流
미술사학연구(구 고고미술)
2012 .03
-
탈동양화의 경계에서 추구한 영(靈)의 세계 : 연정 안상철 작품 연구
한국근현대미술사학
2016 .12
-
한국 근대기 미술 유학을 통한 ‘동양화’의 추구 : 채색화단을 중심으로
한국근현대미술사학
2014 .06
-
명대 궁정화조화의 원형과 새로운 화풍
미술사연구
2012 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-560-018679818