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.
초록· 키워드
오류제보하기
Today, in the history of Chinese paintings, Shi-Tao(石濤, 1642-1707) has been widely recognized from the perspective of the ‘individual school’. This is the result of ongoing and consistent research. In particular, this study has been focused by artists and historians in 20th Century despite the ambiguity of authenticity in grasping the characteristics of the formalistic style. This phenomenon of the research on Shi-Tao would be closely related with Chinese nationalism called as anti-Qing awareness and the historical view of anti-Imperialism.
In this point, this study puts weigh on a new perspective as the renovation of anti-siwang(反四王) or lin-mo(臨摹, imitation) in the tradition of lin-mo according to the rise of traditionalism loomed large in the 20th century in China. The reason is because a pictorial perspective was also born in the ‘modern’ view which considered Shi-Tao as an individual school and is because individualism, which is called originality, was affected by the attention of evaluation in the whole of Chinese arts today.
Shi-Tao, who was paid attention too by both traditionalism(傳統主義) and reformism(改良主義) which are the two main streams in the development of Chinese paintings, can be considered that he presented modern explanations in different ways in that the two school showed individuality.
Thus, in this writing, I focus on the point that Shi-Tao was accepted in the standpoint of subjective individuality, ‘Impressionist Style’ of contemporary art, to individualists. Also, I would like to concentrate on the point that Shi-Tao was the object of renaissance of traditionalism as an alternative to overcome siwang school.
In the popularity of Shi-Tao which became more intensified in coming into the 20th century, the modern meaning, in which Shi-Tao was accepted as a value of a painting in the literary artist’s style re-evaluated with nan-ga’s coming to the fore as the classics of the Orient in Japan, can be found. Also, Shi-Tao became in the limelight as the collection of collectors circulating as an ancient tradition in the art market of metropolis in China. This coeval popularity rather enacts the dynamic of the classics of the Orient as colonialism in Korean modern arts in Korea and is still analyzed in the modern phenomenon.
In this point, this study puts weigh on a new perspective as the renovation of anti-siwang(反四王) or lin-mo(臨摹, imitation) in the tradition of lin-mo according to the rise of traditionalism loomed large in the 20th century in China. The reason is because a pictorial perspective was also born in the ‘modern’ view which considered Shi-Tao as an individual school and is because individualism, which is called originality, was affected by the attention of evaluation in the whole of Chinese arts today.
Shi-Tao, who was paid attention too by both traditionalism(傳統主義) and reformism(改良主義) which are the two main streams in the development of Chinese paintings, can be considered that he presented modern explanations in different ways in that the two school showed individuality.
Thus, in this writing, I focus on the point that Shi-Tao was accepted in the standpoint of subjective individuality, ‘Impressionist Style’ of contemporary art, to individualists. Also, I would like to concentrate on the point that Shi-Tao was the object of renaissance of traditionalism as an alternative to overcome siwang school.
In the popularity of Shi-Tao which became more intensified in coming into the 20th century, the modern meaning, in which Shi-Tao was accepted as a value of a painting in the literary artist’s style re-evaluated with nan-ga’s coming to the fore as the classics of the Orient in Japan, can be found. Also, Shi-Tao became in the limelight as the collection of collectors circulating as an ancient tradition in the art market of metropolis in China. This coeval popularity rather enacts the dynamic of the classics of the Orient as colonialism in Korean modern arts in Korea and is still analyzed in the modern phenomenon.
목차
Ⅰ. 畵壇의 反四王의 國粹主義 臨古 傳統
Ⅱ. 北京畵壇의 傳統主義 임모 혁신
Ⅲ. 東洋古典의 勃興과 近代의 個性
참고문헌
ABSTRACT
참고문헌 (34)
참고문헌 신청
1. [단행본] - 김상엽 / 2005 / 경매된 서화: 일제시대 경매도록 수록의 고서화 / 시공사
2. [단행본] - 한국미술연구소 / 1997 / 한국의 미술가 김환기 / 삼성문화재단
3. [단행본] - / 1997 / 大滌子題畵詩跋, In 美術叢書 三集, 第十輯 / 江蘇古籍出版社
4. [학술지(정기간행물)] - 馮幼衡 / 2010 / 張大千早期(1920-1940)的靑綠山水: 傳統靑綠山水在二十世紀復興 / 美術史硏究集刊 29
5. [단행본] - 傅申 / 1994 / 上昆侖尋河源 : 大千與董源-張大千仿古歷程硏究之一, In 張大千傅心畬詩書畵學術討論會 論文集 / 國立故宮博物院
2. [단행본] - 한국미술연구소 / 1997 / 한국의 미술가 김환기 / 삼성문화재단
3. [단행본] - / 1997 / 大滌子題畵詩跋, In 美術叢書 三集, 第十輯 / 江蘇古籍出版社
4. [학술지(정기간행물)] - 馮幼衡 / 2010 / 張大千早期(1920-1940)的靑綠山水: 傳統靑綠山水在二十世紀復興 / 美術史硏究集刊 29
5. [단행본] - 傅申 / 1994 / 上昆侖尋河源 : 大千與董源-張大千仿古歷程硏究之一, In 張大千傅心畬詩書畵學術討論會 論文集 / 國立故宮博物院
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2013-650-001194866