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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제50호
- 발행연도
- 2020.6
- 수록면
- 29 - 55 (27page)
- DOI
- 10.14380/AHF.2020.50.29
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초록· 키워드
오류제보하기
This paper studies history of the research on Korean sculpture after the liberation. In the same manner of analyzing modern art as before and contemporary art as after the liberation in Korean modern and contemporary art history, this paper studies Korean sculpture after the liberation. In fact, a significant development in sculptural works has occurred then. In 1925, when Kim Bok-jin graduated from Tokyo Fine Arts School in sculpture and was actively working as a sculptor, his sculpture began to develop completely different from the traditional one. Instead of functional ones such as Buddhist or tomb sculptures, sculpture as fine art began to emerge as a new genre in Korean art history. In Korean modern days, not only were there just a few sculptors, their works were mostly based on methods such as carving or modeling realistic figures. Therefore, studies on Korean modern sculpture do not exist abundantly. After the liberation, abstract sculpture as well as newly approached sculpture with various methods and materials began to rise. However, a spectrum of contemporary sculpture became very broad that it was difficult to even categorize sculpture as one genre. After three-dimension was developed, its term has been used along with the term sculpture. Also, anti-sculpture became apparent as dimensions being involved and materials becoming diverse, and yet it came to have inseparable relationship with installation art. Although, a boundary between genres became obscure, this paper analyzes various studies on sculpture within art genre in Korean contemporary art history.
Studies of Korean contemporary sculpture can be classified into before and after the 1990’s while studies before the 1990’s were largely based upon its overview and the secondary element of studies in painting. In 1990’s, scholars of sculpture began to emerge, and studies on characteristics of Korean contemporary sculpture started to expand deeply. Furthermore, objectives and perspectives on research came to accumulate little by little in various ways. This paper seeks the aspects of this phenomenon in detail, and the discussion is organized as follows: first, it overviews the development of Korean contemporary sculpture, and analyzes the studies that achieved concept and terminologies of sculpture. Then it examines into two subject matters, sculpture as fine art and sculpture as public art. The subject of discussion is based on research papers, academic journals, scholarly articles from anthology, and writings from the exhibition catalogue from the National Museum of Modern and Contemporary Art covering Korean sculpture after the liberation. The ultimate purpose of this study is to exceed discussions which have been primarily in painting, and to examine Korean contemporary art history in equitable perspectives.
Studies of Korean contemporary sculpture can be classified into before and after the 1990’s while studies before the 1990’s were largely based upon its overview and the secondary element of studies in painting. In 1990’s, scholars of sculpture began to emerge, and studies on characteristics of Korean contemporary sculpture started to expand deeply. Furthermore, objectives and perspectives on research came to accumulate little by little in various ways. This paper seeks the aspects of this phenomenon in detail, and the discussion is organized as follows: first, it overviews the development of Korean contemporary sculpture, and analyzes the studies that achieved concept and terminologies of sculpture. Then it examines into two subject matters, sculpture as fine art and sculpture as public art. The subject of discussion is based on research papers, academic journals, scholarly articles from anthology, and writings from the exhibition catalogue from the National Museum of Modern and Contemporary Art covering Korean sculpture after the liberation. The ultimate purpose of this study is to exceed discussions which have been primarily in painting, and to examine Korean contemporary art history in equitable perspectives.
목차
Ⅰ. 머리말
Ⅱ. 한국 현대조각에 관한 개괄적인 논저
Ⅲ. 순수미술로서 조각에 관한 연구
Ⅳ. 공공조각에 관한 연구
Ⅴ. 맺음말
참고문헌
ABSTRACT
참고문헌 (23)
참고문헌 신청
김미정 / 2002 / 1950, 60년대 한국전쟁 기념물 - 전쟁의 기억과 戰後 한국국가체제 이념의 형성 / 한국근현대미술사학(구 한국근대미술사학) 10
김미정 / 2009 / 한국 산업화시대의 유토피아적 비전 / 한국근현대미술사학(구 한국근대미술사학) (20):206~227
김이순 / 2019 / 한국 추상조각의 형성과 전개 / 한국근현대미술사학(구 한국근대미술사학) (37):195~223
김이순 / 2005 / 한국구상조각의 외연과 내포 / 한국근대미술사학 15:89~116
김이순 / 2011 / 한국근현대미술에서 ‘조각’ 개념과 그 전개 / 한국근현대미술사학(구 한국근대미술사학) (22):36~53
김미정 / 2009 / 한국 산업화시대의 유토피아적 비전 / 한국근현대미술사학(구 한국근대미술사학) (20):206~227
김이순 / 2019 / 한국 추상조각의 형성과 전개 / 한국근현대미술사학(구 한국근대미술사학) (37):195~223
김이순 / 2005 / 한국구상조각의 외연과 내포 / 한국근대미술사학 15:89~116
김이순 / 2011 / 한국근현대미술에서 ‘조각’ 개념과 그 전개 / 한국근현대미술사학(구 한국근대미술사학) (22):36~53
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