지원사업
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
Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an educator, too, Ye succeeded Xu Beihong(徐悲鴻, 1895~1953) as the longestserving head of Chinese painting at National Beiping Art College, the predecessor of China Central Academy of Fine Arts.
Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s.
It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai.
The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.
Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s.
It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai.
The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.
목차
Ⅰ. 머리말
Ⅱ. 戴愛蓮의 1940년대 무용 활동과《戴愛蓮四十年代舞臺形象》
Ⅲ.《戴愛蓮四十年代舞臺形象》의 표현방식
Ⅳ.《戴愛蓮四十年代舞臺形象》의 성격
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (41)
참고문헌 신청
[단행본] - 고승길 / 2005 / 아시아 춤의 근대화와 한국의 근대 춤 / 민속원
[학술지(정기간행물)] - 문정희 / 2002 / 1930년대 상해 決瀾社 前衛(아방가르드)性 연구 / 한국근현대미술사학(구 한국근대미술사학) 10 : 87 ~ 117
[단행본] - 스즈키 스네카스 / 1996 / 상해의 조선인 영화 황제 / 실천문학사
[단행본] - 이스라엘 엡스타인 / 2000 / 20세기 중국을 빛낸 위대한 여성 : 송경령 上·下 / 한울
[단행본] - 장준구 / 2011 / 근대를 만난 동아시아 회화: 동아시아 회화 연구를 위한 새로운 모색 / 사회평론
[학술지(정기간행물)] - 문정희 / 2002 / 1930년대 상해 決瀾社 前衛(아방가르드)性 연구 / 한국근현대미술사학(구 한국근대미술사학) 10 : 87 ~ 117
[단행본] - 스즈키 스네카스 / 1996 / 상해의 조선인 영화 황제 / 실천문학사
[단행본] - 이스라엘 엡스타인 / 2000 / 20세기 중국을 빛낸 위대한 여성 : 송경령 上·下 / 한울
[단행본] - 장준구 / 2011 / 근대를 만난 동아시아 회화: 동아시아 회화 연구를 위한 새로운 모색 / 사회평론
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UCI(KEPA) : I410-ECN-0101-2017-609-000841383