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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.
초록· 키워드
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Oh Jiho laid the foundation for his view of paintings during his study overseas Above all, the most noteworthy is the teacher-pupil relationship established with his teacher, Hujishima Takeji. Especially, Hujishima's theory of empathy, and his opinion that paintings should express innate beauty hidden in nature, became the basis of Oh jiho's view of paintings.
The most notable point in Oh jiho's view of paintings was the 'life doctrine', vividly discussed in the Japanese literary circle, Nishida's life-art theory in particular. Nishida's points in this life-art theory that the expression of life is the most important in art, the expression of flourishing life is made through colors, and that the most successful in this expression is impressionism, were also tJle main parts of Oh jiho's paintings theory. TI1is coincidence reveals the relation of influence. From that time on, it seems that Oh Jiho could develop and establish his own view of paintings, while sharing the life-centered view of paintings that Kim Jookyoung, his painting pal, pursued since the early 1930's.
Oh Jiho manifested his position on the painting world thar he ultimately pursues through four writings, and several works released from the late 1930's throughout 1940's. In the end, we can see that the view of paintings he sought for was the 'incarnation of the ideal nature full of life' on the basis of 'colors and shapes'. Oh jiho pursued the impressionist style, in the techniques aspect, in expressing his view of paintings. But in the theoretical, in-detail aspect, there were some distinctions from Western impressionists. And he revered Vincent Van Gogh as an artist, who most successfully expressed life as the law and rule of nature on canvas. This is different from the Japanese enthusiasm about Van Gogh as an artist, who most successfully expressed life as the individuality and the ideas of the artist. These are the characteristics that Oh jiho's view of paintings has.
The most notable point in Oh jiho's view of paintings was the 'life doctrine', vividly discussed in the Japanese literary circle, Nishida's life-art theory in particular. Nishida's points in this life-art theory that the expression of life is the most important in art, the expression of flourishing life is made through colors, and that the most successful in this expression is impressionism, were also tJle main parts of Oh jiho's paintings theory. TI1is coincidence reveals the relation of influence. From that time on, it seems that Oh Jiho could develop and establish his own view of paintings, while sharing the life-centered view of paintings that Kim Jookyoung, his painting pal, pursued since the early 1930's.
Oh Jiho manifested his position on the painting world thar he ultimately pursues through four writings, and several works released from the late 1930's throughout 1940's. In the end, we can see that the view of paintings he sought for was the 'incarnation of the ideal nature full of life' on the basis of 'colors and shapes'. Oh jiho pursued the impressionist style, in the techniques aspect, in expressing his view of paintings. But in the theoretical, in-detail aspect, there were some distinctions from Western impressionists. And he revered Vincent Van Gogh as an artist, who most successfully expressed life as the law and rule of nature on canvas. This is different from the Japanese enthusiasm about Van Gogh as an artist, who most successfully expressed life as the individuality and the ideas of the artist. These are the characteristics that Oh jiho's view of paintings has.
목차
머리말
繪畵觀의 형성
繪畵理論의 전개
오지호 繪畵論의 특징
맺음말
ABSTRACT
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