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초록· 키워드
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The discourse of literati painting formulated in early modern age contained various historical, political and cultural contexts experienced by East Asian countries around the 20th century. Rapid westernization and modernization enabled people to have one-sided criticism on traditional literati painting and the emerging orientalism led to its revival, thus creating a discourse of various modern literati painting. As such, the criticism and revival theory formed within a short period of time connoted lots of contradiction and irrationality as much as its sudden transformation. Regardless of whether the evaluation on literati painting was positive or negative, the standard was always western countries and its content was thoroughly affiliated and developed with the political intention of each country. The criticism of formulation, one of the main issues of literati painting, that of the unity theory of poetry, calligraphy and painting (詩?書?畵) and that of a lack of realist spirits were one-way criticism based on Western-oriented aesthetic values. Besides, the discourse that helped the modern interpretation of subsequent literati painting was based on the association with Western modernism art. Meanwhile, the logic of power surrounding the then East Asia was reflected intact so that each country developed the discourse of literati painting with fierce purposeful consciousness: Japan within the logic of imperialism, China with the instillation of nationalism and expansion of selfconsciousness and Korea under the influence of colonial ideology Especially, Japan regarded literati painting as a cultural tool for the solidarity of East Asia and played the most active and leading role in the formation and development of the discourse of modern literati painting. By setting up the characteristics of literati painting as the representation of rhythmic vitality (氣韻生動), individuality, subjective emotion, Japan created the concept of literati painting compared to Western realism art; in addition, it made new discourse discovering the modernity under the concept that the said factors would correspond to the subjectivity of Western modernism art and expression. Furthermore, by directly comparing rhythmic vitality of literati painting to Western empathy theory, it claimed the superiority of the latter or maintained that the principle of artistic principles in Western modernism had been actually immanent in Asian literati painting, thus making it possible to have a comparatively superior discourse to Western. Namely, Japan attempted to produce the cultural solidarity in Asia through the said discourse of literati painting and to occupy its supremacy. Meanwhile, Korea and China took in it corresponding to their political situations and cultural features, thus using it to establish their identity and subjecthood.
As shown above, the discourse of literati painting in early modern age faithfully reflected the political and cultural demand and purpose in East Asian society and became one of the newly reinterpreted traditional theories. Thus, Asian discourse in the 20th century was characterized by an attempt to find out modern values from something non-Western and traditional. In addition, it would prove that artistic exchange in East Asia focusing on Japan around the 20th century was not fragmentary, but general. The artistic tradition of East Asia in the past had been derived from China; however, the new center of culture in early modern age was Japan. Indeed, artistic interchange of East Asia in early modern age was developed diversely and actively based on Japan. Nevertheless, literati paintings were connected with the identity of a country in the name of tradition so that it tended to avoid discussing the presence of influences with foreign countries, especially with Japan. However, how it was settled as local culture and diversified would be more important than the issue of hegemony, that is, who the center of culture was and who the outsider was. In this regard, the discourse of literati painting in early modern age would have been worth doing researches as such concrete examples.
As shown above, the discourse of literati painting in early modern age faithfully reflected the political and cultural demand and purpose in East Asian society and became one of the newly reinterpreted traditional theories. Thus, Asian discourse in the 20th century was characterized by an attempt to find out modern values from something non-Western and traditional. In addition, it would prove that artistic exchange in East Asia focusing on Japan around the 20th century was not fragmentary, but general. The artistic tradition of East Asia in the past had been derived from China; however, the new center of culture in early modern age was Japan. Indeed, artistic interchange of East Asia in early modern age was developed diversely and actively based on Japan. Nevertheless, literati paintings were connected with the identity of a country in the name of tradition so that it tended to avoid discussing the presence of influences with foreign countries, especially with Japan. However, how it was settled as local culture and diversified would be more important than the issue of hegemony, that is, who the center of culture was and who the outsider was. In this regard, the discourse of literati painting in early modern age would have been worth doing researches as such concrete examples.
목차
Ⅰ. 머리말
Ⅱ. 근대기 문인화 담론의 형성배경
Ⅲ. 전통 문인화에 대한 비판의식
Ⅳ. 20세기 동양 담론으로서의 근대 문인화론 전개
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (87)
참고문헌 신청
1. [학술지(정기간행물)] - 가오메이칭 / 1998 / 畵에서 國畵까지: 중국 현대 회화용어의전개상의 쟁점 / 造形 FORM 21 : 121 ~ 136
2. [학술지(정기간행물)] - 김병구 / 2006 / 고전부흥의 기획과 '조선적인 것'의 형성 / 민족문학사연구 (31) : 12 ~ 38
3. [학술지(정기간행물)] - 김영나 / 1993 / 1930년대의 한국근대회화 / 미술사연구 7 : 31 ~ 46
4. [단행본] - 김용준 / 2007 / 近園全集 이후의 近園 / 열화당
5. [단행본] - 김용준 / 2001 / 새 近園隨筆 / 열화당
2. [학술지(정기간행물)] - 김병구 / 2006 / 고전부흥의 기획과 '조선적인 것'의 형성 / 민족문학사연구 (31) : 12 ~ 38
3. [학술지(정기간행물)] - 김영나 / 1993 / 1930년대의 한국근대회화 / 미술사연구 7 : 31 ~ 46
4. [단행본] - 김용준 / 2007 / 近園全集 이후의 近園 / 열화당
5. [단행본] - 김용준 / 2001 / 새 近園隨筆 / 열화당
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UCI(KEPA) : I410-ECN-0101-2014-600-000668607