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논문 기본 정보

자료유형
학술저널
저자정보
홍선표 (이화여대)
저널정보
한국미술연구소 미술사논단 美術史論壇 第44號
발행연도
2017.6
수록면
59 - 77 (19page)
DOI
10.14380/AHF.2017.44.59

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초록· 키워드

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The concept of Western ‘Modernity’ is based on the progressive view of history, which regards history as a unilinear process of development. In the modern era, such ‘Modernization’ became a universal goal around the world, and same phenomenon occurred in colonized Korea. ‘Painting and Calligraphy(書畵)’ of Joseon was reclassified under the ‘Arts’ of the Western modernity as separate genres: painting(畵) and calligraphy(書). In accordance with the art world’s inclination to describe history linearly, traditional painting, which was newly defined as ‘Oriental painting(東洋畵)’, became mainstream, and calligraphy-along with the ink painting(墨畵) of the Four Gracious Plants(四君子- ousted to the periphery. The modernization discourse of ‘Traditional-style Korean painting(韓國畵)’ got serious after Korea’s Independence from Japan in 1945. As a medium of eliminating Japanese influences and developing an identity as ‘the fine and true painting of Joseon’, Oriental painting sought to initiate its modernization. Around the 1950s’, it was pointed out that the elements of literati-style painting, such as the ink-and-wash painting or sa-ui(寫意), not only denote the essence of the spirit and the tradition of Oriental paintings, but also share the features of the Western Expressionism. Due to the inf luence of international art world, Abstract Art, especially Informel, became a foremost art movement in Korea. Consequently, the art scene of traditional-style Korean painting considered abstract works as the top task of modernization. From the fact that Abstract Art and Informel were inspired by East Asian calligraphy and ink-and-wash art, an idea was derived: the aesthetics and methods that both sides share were consider as the most advanced East-and-West-combining art form that contains modernity and internationality. The modernization of Traditional-style Korean painting continued its progress; inkand-wash painting expanded in the 1960s, and Abstract Art became the general tendency in the 1970s’. To sum up, similar to the modernization of colony, it seems that in the discourse on the modernization of Traditional-style Korean painting, the theory of the East-and-West fusion-a theory regarding the tradition as an instrument that corresponds with the West-oriented modern codes in the context of the theory of unilinear evolution-was the mainstream. However, it is difficult to overcome this chronic misunderstanding-Western modernity has universality and Eastern tradition represents particularity- with such monistic modernization. It is demanded to bring another modernization that can essentialize, generalize, and pursue its own tradition-not the tradition that is created by modernism and nationalism.
Having a cr it ical perspect ive on this problem cal ls attent ion to Lee Ungno(1904~1989)’s formative preference and his process of overcoming. Lee started his artistic career as a traditional Four Gracious Plants painter, but constantly changed his art work style from ‘expressive abstract’ to ‘calligraphic style abstract’ and ‘abstract of characters’. Through ‘People’ series in the 1980s’, the artist challenged to overcome the conventional modernism. By using ‘paper, brushes, and ink(紙筆墨)’ as a medium, Lee tried to reach the primitive state of creation where drawing and writing are undifferentiated, and also unified painting and calligraphy in that sense. As a result, he succeeded in practicing the true sa-ui which reinstates and recreates the formative property or naturalness of an object. As such, an alternative mode of creation would be able to be achieved through accepting the concept of plural modernization which considers both the West and the East possess universality and speciality at the same time -rather than regarding the West to be universal and the East to be special. This allows us not only to escape from the unilinear theory of fusion East and West, but also to achieve the true unity between Eastern and Western traditions. And the possibility can be found by overcoming singular modernization based on post-war modernism, which was the final formative preference of Lee Ungno, the artist who once dissolved the form and content apart, and then reintegrated them back together again.
#한국화 traditional-style Korean painting #현대화 modernization #이응노 Lee Ungno #서예추상 calligraphic abstraction

목차

Ⅰ. 머리말
Ⅱ. ‘한국화’의 현대화 담론
Ⅲ. 이응노의 조형적 편력과 초극
참고문헌
ABSTRACT

참고문헌 (12)

참고문헌 신청
[학술지(정기간행물)] - 김병기 / 1953 / 추상회화의 문제 / 사상계 google schola [학술지(정기간행물)] - 김허경 / 2016 / 한국 앵포르멜의 ‘태동 시점’에 관한 비평적 고찰 / 한국예술연구 (14) : 113 ~ 137 dbpia [단행본] - 문정희 / 2016 / 이응노와 유럽 의 서체추상 / 이응노미술관 google schola [학술지(정기간행물)] - 박소현 / 2006 / 또 하나의 냉전: 미군 점령기(1945-1951) 일본에서의 ‘민주주의’적인 프랑스 미술의 궤적 / 현대미술사연구 (19) : 1 ~ 1 dbpia [학위논문] - 박파랑 / 2017 / 1950-60년대 한국 동양화단의 추상미술 수용과 전개: 전후 일본미술계와의 관계를 중심으로 / 박사 / 홍익대학교대학원 dbpia

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