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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第44號
- 발행연도
- 2017.6
- 수록면
- 35 - 58 (24page)
- DOI
- 10.14380/AHF.2017.44.35
이용수
초록· 키워드
오류제보하기
The view of xieyi style, a concept derived from literati painting, as a principle and form of abstract spirit inherent to ink painting, in connection with Western abstract art, goes back as far as 1929 in Korean art. Western-style artists who had studied in Japan, such as Kim Yong-jun and Sim Yeong-seop, tied the work of postimpressionist artists such as Cézanne and Van Gogh with that of other artists such as Matisse, Rouault and Kandinsky together under the term “expressionism.” They defined subjective, symbolic expression of the artist’s inner side through bold formal transformations and free line compositions, going beyond realistic mimesis, as “expressive principles of ink painting.” In the late 1930s, ink painter Kim Yeong-gi posited that the expressionist nature of Western art was the same as xieyi, the literati painting principle that emphasized the same subjective expression and inner emotions through bold brush techniques. Kim branded Western abstract art a return to an East Asian-style spirit, thereby asserting the superiority of East Asian spirit.
Later, in the 1950s, it was Lee Ung-no who established a link between xieyi and abstract styles in East Asian painting. Before the widespread acceptance of Western abstract art in the 1950s, xieyi was merely expressed as an emphasis on free excitement of the artist, within the genres and styles of traditional literati painting. This was inherently embodied in traditional style, as evidenced by various conceptual values of East Asian painting including shuhua yizhi (書畵一致) and qiyun shengdong (氣韻生動).
This tells us that simply lumping together the East Asian abstractionism that appeared in the 1950s and later became established as a distinct style as an “inherent developmental style,” based on a theoretical interpretation of xieyi, not only shows a lack of understanding of historical context but has the potential to be misunderstanding or misleading by reconstituting the abstractionism as a direct projection of today’s perspectives.
Later, in the 1950s, it was Lee Ung-no who established a link between xieyi and abstract styles in East Asian painting. Before the widespread acceptance of Western abstract art in the 1950s, xieyi was merely expressed as an emphasis on free excitement of the artist, within the genres and styles of traditional literati painting. This was inherently embodied in traditional style, as evidenced by various conceptual values of East Asian painting including shuhua yizhi (書畵一致) and qiyun shengdong (氣韻生動).
This tells us that simply lumping together the East Asian abstractionism that appeared in the 1950s and later became established as a distinct style as an “inherent developmental style,” based on a theoretical interpretation of xieyi, not only shows a lack of understanding of historical context but has the potential to be misunderstanding or misleading by reconstituting the abstractionism as a direct projection of today’s perspectives.
목차
Ⅰ. 머리말
Ⅱ. 1929년 한국 서양화단: 아세아주의 미술론과 일본
Ⅲ. 1939년 한국 동양화단 : 사의적 문인화와 중국
Ⅳ. 1930-40년대 한국 동양화단 : 문인화와 ‘사의’의 조형적 표현
Ⅴ. 한국 동양화단의 사의 개념과 서구추상의 수용
Ⅵ. 맺음말
참고문헌
ABSTRACT
참고문헌 (14)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
청강 김영기(金永基, 1911~2003)의 생애와 회화이론 - 1960년대까지를 중심으로
한국근현대미술사학
2022 .07
-
문인화를 통한 한∙중∙일 현대 포스터 비교연구
커뮤니케이션디자인학연구
2019 .01
-
(신)문인화의 의미변화에 대한 분석-문인화의 “사기(士气)”에서 신(新)문인화의 “반(反)문화”로
기초조형학연구
2021 .06
-
石魯(1919-1982)의 산수화에 관한 연구
미술사학
2018 .08
-
「문인화의 가치(文人畵之價値)」: 천스쩡(陳師曾)의 문인화론
미술사와 시각문화
2018 .01
-
죽화(竹畵)의 유형과 분류체제의 정립을 위한 시론
미술사논단
2018 .12
-
서세옥의 수묵추상 전환과정과 조형의식
미술사논단
2021 .12
-
조선 후기 남종화풍 문인산수화의 모방과 창작 : 화보의 분류 체계와 그 수용
미술사논단
2016 .06
-
현대 추상 수묵화의 구성언어 실현 연구: 수묵화의 추상 표현을 중심으로
동양예술
2021 .01
-
A Dog's Simulation(ink painting)
한국기초조형학회 작품집
2019 .05
-
이용우(李用雨, 1902-1952)의 ‘묵로’시대 회화 연구 : 인물화와 화조화를 중심으로
한국근현대미술사학
2018 .12
-
강세황의 絶筆: 18세기 문인화가의 절필에 관한 사회문화사적 접근
미술사학연구(구 고고미술)
2022 .12
-
The Application of Ink Painting Elements in New Media Art - Focusing on the Work “Different Appearance of Running Water”
TECHART: Journal of Arts and Imaging Science
2021 .08
-
동아시아 唐詩意圖 비교 연구(2) - 16-19세기 제작 배경과 화가 신분을 중심으로 -
동악미술사학
2017 .06
-
현대 한국 서양화 사조 연구 : 국전 화풍을 중심으로
한국근현대미술사학
2015 .12
-
16~19세기 韓 · 中 雪景畵에 내포된 王維 인식과 표현
미술사논단
2017 .12
-
Spectral Image Reconstruction of Chinese Ink and Wash Painting Based on Self-training with Multispectral Imaging
AIC 2017 Jeju
2017 .10
-
고려 중기의 북송과의 회화 교류
미술사논단
2019 .12
-
춘추전국 한대 회화의 필묵법에 대한 고찰
동양예술
2018 .01
-
Survival and Revival of Traditionalist Chinese Painting after the Cultural Revolution : Tang Yun’s Twelve-Leaf Album after Lu You’s Poems (1976)
현대미술사연구
2018 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2018-650-001177705