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 제51호
- 발행연도
- 2020.12
- 수록면
- 125 - 146 (22page)
- DOI
- 10.14380/AHF.2020.51.125
이용수
초록· 키워드
오류제보하기
This analysis of the Korean landscape painting in the 1990s and 2000s focuses on three issues in particular. First, its relation to true-view landscape painting (Korean: Jinkyoungsansu-hwa), which has been mentioned ever since modern times. Second, the dismantling of dichotomies between tradition and modern, Koreanity and contemporaneity, East Asian landscape painting (Chinese: shanshui-hua, Korean: sansu-hwa) and Western landscape painting, which was driven by pluralization in postmodern perspective. Third, the geographical change between the landscape paintings of the 1990s and 2000s.
When the Europeans first encountered the traditional landscape painting of East Asia, their frame of reference was set to Western standards. On the basis of Eurocentrism, they regarded the East Asian concept of landscape in the same light as the Western landscape and diluted its original philosophical and ethical context. This might have been the natural consequence of cultural differences. However, East Asian landscape painting has a much longer history and shows both similarities and differences with the Western landscape painting. On the other hand, East Asians are prone to understand the Western landscape painting in the context of their own landscape painting, but this approach obviously has its own limits as well.
The most critical problem was created during the Japanese occupation period in Korea. Around that time, the traditional Korean landscape painting went through the modernization process and the cultural and aesthetic concepts from the Western world, Japan, and Korea got mixed together within it. The influence of that incident prevailed in the 20th century and is still valid today. However, continuity does not always guarantee permanency. In conclusion, this paper suggests “deconstructing and reconstituting” as a keyword to explain landscape painting around the 2000s.
When the Europeans first encountered the traditional landscape painting of East Asia, their frame of reference was set to Western standards. On the basis of Eurocentrism, they regarded the East Asian concept of landscape in the same light as the Western landscape and diluted its original philosophical and ethical context. This might have been the natural consequence of cultural differences. However, East Asian landscape painting has a much longer history and shows both similarities and differences with the Western landscape painting. On the other hand, East Asians are prone to understand the Western landscape painting in the context of their own landscape painting, but this approach obviously has its own limits as well.
The most critical problem was created during the Japanese occupation period in Korea. Around that time, the traditional Korean landscape painting went through the modernization process and the cultural and aesthetic concepts from the Western world, Japan, and Korea got mixed together within it. The influence of that incident prevailed in the 20th century and is still valid today. However, continuity does not always guarantee permanency. In conclusion, this paper suggests “deconstructing and reconstituting” as a keyword to explain landscape painting around the 2000s.
목차
Ⅰ. 머리말
Ⅱ. 산수와 풍경, ‘보는 방식(視方式)’의 차이가 의미하는 것
Ⅲ. 1990년대, 산수화의 풍경화적 시각과 재해석
IV. 2000년대, 산수화의 해체와 재구성
V. 맺음말
참고문헌
ABSTRACT
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