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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Asian paintings are usually called as the art of line. The line became the most important element in painting through Weijin period. After middle Tang period, painters began to make pure line-drawing, and the line became the most important element to express the painters mental world. In Asia painting has a deep relation with the activity of drawing not with colouring. Jinghao who had lived from later Tang to Wudai, in his work [Bifaji], said that "Painting is drawing." Shitao who had lived from later Ming to early Qing dynasty, insisted 'One Stroke' as the theoretical base for his own painting.
In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line.
This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character.
In Asian paintings, what was the philosophical background for the line? how it became the most important element? There have been a lot of thesis about the line in Asian paintings, but few of them have systematically studied its original meaning and its developing process. The existing studies are mostly in two fields; one is the historical study of style about the difference between line and 'chun', another is the aesthetic study of the tendency in line.
This thesis studied the process of birth of line, the form of line and its meaning. The lines in Asian painting not only draw the figure of objects, but also contain their substance. This thesis want to show how it was possible, which way of thinking made it possible. Through this study, I want show the sensitivity and meaning of Asian paintings in the angle of linear character.
목차
Ⅰ. 들어가는 말
Ⅱ. ‘회繪’와 ‘화畵’ 그리고 ‘구륵鉤勒’
Ⅲ. 선과 구분, 회화 지위의 격상
Ⅳ. 나가는 말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2010-605-003265252