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초록· 키워드
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"What is the Korean modern art?" This question has been answered that it's a Korean Monochrome Paintings of the 1970s, for a long time without reconsideration. It is supposed to Korean Monochrome Paintings embodied the quality of the Korean cultural identity on the ground of asian beomjayeonjuui(汎自然主義, pannaturalism). We need to, however, return the context of the formation of Korean Monochrome Paintings in the middle of 1970s, so as to investigate that such claims are proper. Because, advocators' theory of Korean Monochrome Paintings covered, and made a false representation of the influence of other theories or positions such as Minimalism, Monoha in Japan, and so on. They, furthermore, neglected the interactivity between the socio-cultural context where they were made and formation of identity model on the Monochrome Paintings.
This thesis, thus, aims to examine the art theory and practice of Monochrome Paintings in three points. To begin with, the main purpose of thesis is to reveal the relationship between Monoha including Lee Ufan's art theory and criticism and Monochrome Paintings, in the light of discourse of Toyo and discussions for the purpose of overcoming the modern in Japan. It is, therefore, tried to clarify the isonmorphism of the Monochrome art theory in terms of non-material neutral structure and discourse of the overcoming the modern, especially overcoming the subject/object dualism in modem age, from the postcolonial standpoint. Secondly, this thesis shows a close connection between the national ideology of Pack jeong-hee Restoration system and Monochrome Paintings seemed to be pure, autonomous, nonpolitical. This study, in addition, corrects the miss understandings of minimalism in their theory, for example 'reductional and conceptual' etc., reassesses and repositions of Monochrome Paintings given Korean style minimalism or postminimal abstraction.
This thesis, thus, aims to examine the art theory and practice of Monochrome Paintings in three points. To begin with, the main purpose of thesis is to reveal the relationship between Monoha including Lee Ufan's art theory and criticism and Monochrome Paintings, in the light of discourse of Toyo and discussions for the purpose of overcoming the modern in Japan. It is, therefore, tried to clarify the isonmorphism of the Monochrome art theory in terms of non-material neutral structure and discourse of the overcoming the modern, especially overcoming the subject/object dualism in modem age, from the postcolonial standpoint. Secondly, this thesis shows a close connection between the national ideology of Pack jeong-hee Restoration system and Monochrome Paintings seemed to be pure, autonomous, nonpolitical. This study, in addition, corrects the miss understandings of minimalism in their theory, for example 'reductional and conceptual' etc., reassesses and repositions of Monochrome Paintings given Korean style minimalism or postminimal abstraction.
#한국 모노크롬 회화
#모노화
#미니멀리즘
#탈미니멀리즘
#동양론
#근대초극론
#탈식민주의
#민족적 문화 정체성
#근대 주/객 이원론의 극복
#비물질적 중성구조
#Korean Monochrome Paintings of the 1970s
#Monoha
#Minimalism
#Korean style minimalism
#discourse of Toyo
#discussions for the purpose of overcoming the modern
#postcolonialism
#national cultural identity
#overcome of the subject/object dualism in modern age
#non-material neutral structure
목차
Ⅰ. 들어가며
Ⅱ. 맥락 설정의 어려움
Ⅲ. 한국 모노크롬화의 형성과 전개 과정
Ⅳ. 한국 모노크롬 미술론
Ⅴ. 서구 미니멀리즘에 대한 왜곡된 시각의 정정과 새로운 비교연구
Ⅵ. 나가며
참고문헌
Abstract
참고문헌 (29)
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UCI(KEPA) : I410-ECN-0101-2010-605-003265227