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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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First, my research suggests various possibilities for renewing traditional fresco technique of Koguryo tumulus painting, changing it into a vital contemporary artistic medium. Then, it analyses fresco' s aesthetic value as a contemporary art and surveys and evaluates the visual language of contemporary fresco artists.
Second Chapter, "Expansion of Medium of Contemporary Art" redefines and elaborates on the medium. From a presentation of true fresco to its creative method and materials, the point is to lay the groundwork for a renewal of modem fresco by reconfirming its historical weight. Since academic research connecting past to present fresco is skimpy, the present research establishes a stronger link.
Chapter Ⅲ analyzes the function, expressive method, technique, volume, and materials in mural painting.
Chapter Ⅳ introduces the realization of a project making a replica jangchun 1 tumulus painting in the National Museum of Korea in Seoul. The author discusses of the plans, actual execuzation and the process with the images.
Chapter Ⅴ, "Fresco mural Painting in the Context of Modem and Contemporary Art Practices," discusses nineteenth- and twentieth-century European and British fresco. Moreover, it looks at how the Mexican fresco movement of the twenties, the American New Deal murals, and the two consecutive fresco exhibitions in the Milan Triennials of the thirties all became important turning points for the transformation of a traditional medium into a modem one. The research discusses all three movements, groups European and American work, big and small, since the seventies, and, in doing so, creates a structural axis for modem fresco.
Works of major fresco artisrs who have been expressing this hypothesis in their work, divided into three categories: site-specific projects, portable frescoes, and fresco in mixed media, and the process of legitimizing the modernity of a traditional medium are discussed.
Second Chapter, "Expansion of Medium of Contemporary Art" redefines and elaborates on the medium. From a presentation of true fresco to its creative method and materials, the point is to lay the groundwork for a renewal of modem fresco by reconfirming its historical weight. Since academic research connecting past to present fresco is skimpy, the present research establishes a stronger link.
Chapter Ⅲ analyzes the function, expressive method, technique, volume, and materials in mural painting.
Chapter Ⅳ introduces the realization of a project making a replica jangchun 1 tumulus painting in the National Museum of Korea in Seoul. The author discusses of the plans, actual execuzation and the process with the images.
Chapter Ⅴ, "Fresco mural Painting in the Context of Modem and Contemporary Art Practices," discusses nineteenth- and twentieth-century European and British fresco. Moreover, it looks at how the Mexican fresco movement of the twenties, the American New Deal murals, and the two consecutive fresco exhibitions in the Milan Triennials of the thirties all became important turning points for the transformation of a traditional medium into a modem one. The research discusses all three movements, groups European and American work, big and small, since the seventies, and, in doing so, creates a structural axis for modem fresco.
Works of major fresco artisrs who have been expressing this hypothesis in their work, divided into three categories: site-specific projects, portable frescoes, and fresco in mixed media, and the process of legitimizing the modernity of a traditional medium are discussed.
목차
Ⅰ. 序言
Ⅱ. 현대미술과 재료확장
Ⅲ. 벽화의 기능, 재료와 기법
Ⅳ. 국립중앙박물관 장천1호분의 제작
Ⅴ. 장천1호분제작에 적용된 재료와 기법
Ⅵ. 벽화의 현대적 적용
Ⅶ. 結語
〈Abstract〉
「高句麗 壁畵의 材料擴張과 現代的 適用」討論文
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