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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Chun Kyung-ja is a painter who is well-known for her images of women in Korea’s modern art scene. She persistently produced images of women, and more than half of her works contain female images. In particular, images of women surrounded by flowers and butterflies can be considered Chun’s signature paintings. Chun’s images of women show a persistent identity, a sensitive exploration of women, and love for the objects she admired. In this research, I mainly focus on analyzing images of women, which are the most important aspect in her art. Based on changes in her life and drawing style Chun’s female images can be divided into three decades: 1960s, 1970s, and 1980 to the 1990s. Most of her female images are bust portraits, and the transitions between the periods can be seen clearly.
Her women from the 1960s are glamorous and Westernized, far from Korean tradition. These images reflect a new, more independent look for women, which started to appear in that period in Korean society. By building relationships with other female painters, Chun also became more of an independent woman herself.
In the 1970s, Chun devoted herself to close-ups of a single woman. Works from this period could be called as “The portrait of Chun” because they clearly reflect Chun’s appearance. Such reflection expresses female confidence and nobility in her works. In the late 1970s, Chun started to exalt women as the absolute being like pharaohs and empresses. According to Chun, her oddness and strong female images gave her comfort and rescued her from reality. Furthermore, she mentioned that this was the way of expressing her will to overcome the contradiction and exclusion of women in the Korean society of the time.
In the 1980’s and 1990’s, Chun actively added unique subjects and mood to her works. Most of Chun’s female images from this period reflect her desire to escape this civilization. Moreover, because these images of women are as imposing as goddesses of the earth, they still show her subjective vision.
The study of Chun’s female images will help to explain her art in a different way. Also, the women in the images reflect a society and a view of womanhood in each era. This study is important not only in terms of Chun’s art but also to identify mid-20th century Korean women’s life.
Her women from the 1960s are glamorous and Westernized, far from Korean tradition. These images reflect a new, more independent look for women, which started to appear in that period in Korean society. By building relationships with other female painters, Chun also became more of an independent woman herself.
In the 1970s, Chun devoted herself to close-ups of a single woman. Works from this period could be called as “The portrait of Chun” because they clearly reflect Chun’s appearance. Such reflection expresses female confidence and nobility in her works. In the late 1970s, Chun started to exalt women as the absolute being like pharaohs and empresses. According to Chun, her oddness and strong female images gave her comfort and rescued her from reality. Furthermore, she mentioned that this was the way of expressing her will to overcome the contradiction and exclusion of women in the Korean society of the time.
In the 1980’s and 1990’s, Chun actively added unique subjects and mood to her works. Most of Chun’s female images from this period reflect her desire to escape this civilization. Moreover, because these images of women are as imposing as goddesses of the earth, they still show her subjective vision.
The study of Chun’s female images will help to explain her art in a different way. Also, the women in the images reflect a society and a view of womanhood in each era. This study is important not only in terms of Chun’s art but also to identify mid-20th century Korean women’s life.
목차
Ⅰ. 들어가는 말
Ⅱ. 1960년대 여인상
Ⅲ. 1970년대 여인상
Ⅳ. 1980-1990년대 여인상
Ⅴ. 나가는 말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2017-605-001156669