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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
오류제보하기
In 1970s, some korean painters, such as Yong-hoon Ko, Suk-ju Lee, Seokcheol Ji, Hong-joo Kim, etc., who were in jungles of abstract paintings, started creating the figurative paintings. It is called ‘Korean Hyperrealism’. The term ‘Korean Hyperrealism’ was originated from American Hyperrealism. American Hyperrealism was founded upon the aesthetic principles of Photorealism, and was represented as the defiance against Abstract Art. However, Korean Hyperrealism started out at the Modernism. Young-hoon Ko claims that his 1974 work This is a Stone is the first modernist figurative painting. Ko’s remark supports the notion that Korean Hyperrealism has arisen from the relationship with the modernism. That’s why Korean Hyperrealists had a denial of the figurative art in the tradition.
In the strict sense, Hyperrealism is dissimilar to Photorealism. It is contrasted with the literal approach found in traditional photorealist paintings. Korean Hyperrealists used photograpics images as a reference source, but unlike Photorealists, consciously added to human emotion and narrative elements in their paintings. Furthermore, they focused much more on the emphasis of details by close-up and subjects. Korean Hyperrealists created the illusion of a new reality not seen in the original photo.
Hyperrealism has its roots in the philosophy of Jean Baudrillard. According to the theory of Baudrillard, Hyperrealisme is based upon ‘the simulation’ of something which never really existed. Baudrillard suggests that the world we live has been replaced by the Simulacra. The concept of Simulacra contradict the reality as we understand it. The Simulacra produces Hyperreality. Baudrillard strenuously insists that today, there is no such things as reallity; so all is hyperreality.
Their paintings seemed to have blurred line between what is ‘real’ and what is ‘virtual’ seem to have blurred. Korean Hyperrealists, in particular, suggested that the painting is a Simulacra to explain current Korean cultural conditions. Korean Hyperrealists made the paintings as a inherent existence. In other words, their paintings are Hyperreality.
In the strict sense, Hyperrealism is dissimilar to Photorealism. It is contrasted with the literal approach found in traditional photorealist paintings. Korean Hyperrealists used photograpics images as a reference source, but unlike Photorealists, consciously added to human emotion and narrative elements in their paintings. Furthermore, they focused much more on the emphasis of details by close-up and subjects. Korean Hyperrealists created the illusion of a new reality not seen in the original photo.
Hyperrealism has its roots in the philosophy of Jean Baudrillard. According to the theory of Baudrillard, Hyperrealisme is based upon ‘the simulation’ of something which never really existed. Baudrillard suggests that the world we live has been replaced by the Simulacra. The concept of Simulacra contradict the reality as we understand it. The Simulacra produces Hyperreality. Baudrillard strenuously insists that today, there is no such things as reallity; so all is hyperreality.
Their paintings seemed to have blurred line between what is ‘real’ and what is ‘virtual’ seem to have blurred. Korean Hyperrealists, in particular, suggested that the painting is a Simulacra to explain current Korean cultural conditions. Korean Hyperrealists made the paintings as a inherent existence. In other words, their paintings are Hyperreality.
목차
Ⅰ. 머리말
Ⅱ. 하이퍼리얼리티: 실재를 향하여
Ⅲ. 불가능한 교환: 실존과 부재
Ⅳ. 현실과 일상
Ⅴ. 맺음말
참고문헌
ABSTRACT
참고문헌 (1)
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UCI(KEPA) : I410-ECN-0101-2013-650-000639946