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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.
초록· 키워드
오류제보하기
“Alternative Asia” is a concept that aims to understand the Asian continent through trans-ideological and trans-boundary lenses as an inclusive and diverse place that moves away from the traditional notion of the “Far East.” My presentation aims to understand the painting genre of Asian art as something other than a genre which portrays the East as a concept manufactured relative to the West. Rather, I try to see paintings of the historical Asia as a transnational/ hybrid category of art. I will also be pointing out the problems that are held in common by such paintings.
The meaning ascribed to past notions of “contemporary” art is a key factor in any serious discussion of how to interpret contemporary painting- not only in terms of the trans-generational, powerful message that can be conveyed with the ocean motif but also within the context of the post-Second World War development of Asian painting. Nihonga was regarded in the past as the output of modern Japanese art. Uchida Aguri’s paintings are forging new horizons in the realm of historical painting: indeed, Uchida encourages us to reconsider our notions not of Japan but of Asia as a whole. Nakamura Kazumi, who, based on introspection of Western art of the 1980s, advocated the “reinstatement of painting” in resistance against Mono-ha’s anti-painting stance, is an important artist who is defining Asian painting anew at a distance from the consistent struggle between East and West. Rising artists Imazu Kei and Huang Bohao, through explorations of painting as an image, force us to reconsider the position in art that is occupied by the painting. Kei’s creations, using post-production techniques, feature impressive sculptural images. Huang, by interpreting the symbolic character of calligraphic Chinese as an image, shows the process and results of his re-defining of such images as modern paintings rather than traditional painting or calligraphic works. By revisiting the formats and content of these artist’s works, I seek to consider the new meaning implied by a pluralistic Asia in 21st century art from multiple perspectives.
The meaning ascribed to past notions of “contemporary” art is a key factor in any serious discussion of how to interpret contemporary painting- not only in terms of the trans-generational, powerful message that can be conveyed with the ocean motif but also within the context of the post-Second World War development of Asian painting. Nihonga was regarded in the past as the output of modern Japanese art. Uchida Aguri’s paintings are forging new horizons in the realm of historical painting: indeed, Uchida encourages us to reconsider our notions not of Japan but of Asia as a whole. Nakamura Kazumi, who, based on introspection of Western art of the 1980s, advocated the “reinstatement of painting” in resistance against Mono-ha’s anti-painting stance, is an important artist who is defining Asian painting anew at a distance from the consistent struggle between East and West. Rising artists Imazu Kei and Huang Bohao, through explorations of painting as an image, force us to reconsider the position in art that is occupied by the painting. Kei’s creations, using post-production techniques, feature impressive sculptural images. Huang, by interpreting the symbolic character of calligraphic Chinese as an image, shows the process and results of his re-defining of such images as modern paintings rather than traditional painting or calligraphic works. By revisiting the formats and content of these artist’s works, I seek to consider the new meaning implied by a pluralistic Asia in 21st century art from multiple perspectives.
목차
회화의 부정/회귀
고유한 문화적 매체로서 회화
회화의 전위(轉位)
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