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.
이용수
DBpia Top 5%동일한 주제분류 기준으로최근 2년간 이용수 순으로 정렬했을 때
해당 논문이 위치하는 상위 비율을 의미합니다.
초록· 키워드
오류제보하기
Although the term “Jogak(彫刻)” was used in traditional society, its meaning was limited to technique and used to describe works created by “carving.” It was only in modern society that the term came to refer to an artistic genre, “sculpture.” In modern society, sculpture developed a very different appearance, in terms not only of function, but also of materials, techniques, styles and subjects. In Korea, the development of these changes was closely linked to the information from abroad as well as industrial development. This article constitutes an examination of the various phases of sculpture in the 20th century following its emergence as a genre in Korea, focusing on the formal aspects of artworks.
Until the 19th century, sculptures were objects used in everyday life, such as statues of the Buddha or stone figures placed before tombs. Those responsible for their production were classified as craftsmen. In modern society, however, the use of Buddha statues and tomb sculptures decreased dramatically, along with the activity of the craftsmen that created them. Meanwhile, sculptors that had learned sculpture as an art form, at art schools, began appearing. These artists generally developed their artistic self-consciousness by producing figures in the form of realistic reproductions of models that they observed directly. These figures were not objects used in real life, but artworks viewed in art galleries. Sculpture thus became established as a fine art that attached more importance to spiritual that technological aspects.
As a fine art, sculpture developed in various ways, freely reflecting the consciousness and imagination of artists. Sculptors need materials in order to make concrete representations of their consciousness and thoughts; modern and contemporary sculptors used not only traditional sculpture materials such as stone, wood and bronze, but also any new materials that they could get their hands on at the time. The diverse use by contemporary sculptors of water, fire, light, sound, movement, smell, images and technology has expanded the realm of sculpture, making it harder to classify as a genre. This article offers an examination of the development of Korean modern and contemporary sculpture with the passage time, from the birth of the term itself onward.
Until the 19th century, sculptures were objects used in everyday life, such as statues of the Buddha or stone figures placed before tombs. Those responsible for their production were classified as craftsmen. In modern society, however, the use of Buddha statues and tomb sculptures decreased dramatically, along with the activity of the craftsmen that created them. Meanwhile, sculptors that had learned sculpture as an art form, at art schools, began appearing. These artists generally developed their artistic self-consciousness by producing figures in the form of realistic reproductions of models that they observed directly. These figures were not objects used in real life, but artworks viewed in art galleries. Sculpture thus became established as a fine art that attached more importance to spiritual that technological aspects.
As a fine art, sculpture developed in various ways, freely reflecting the consciousness and imagination of artists. Sculptors need materials in order to make concrete representations of their consciousness and thoughts; modern and contemporary sculptors used not only traditional sculpture materials such as stone, wood and bronze, but also any new materials that they could get their hands on at the time. The diverse use by contemporary sculptors of water, fire, light, sound, movement, smell, images and technology has expanded the realm of sculpture, making it harder to classify as a genre. This article offers an examination of the development of Korean modern and contemporary sculpture with the passage time, from the birth of the term itself onward.
목차
I. 머리말
II. 미술장르로서 ‘조각’의 탄생, 그리고 ‘조소’라는 용어
III. 전통에서 근대로 : 사실 재현적인 인물상의 등장
IV. 추상조각의 출현 : ‘공간(negative volume)’과 아상블라주 기법의 수용
V. ‘조각’ 재료의 무한한 확장 : ‘조각적인 것에 대한 저항’
VI. ‘조각’이라는 경계의 해체 : 입체와 설치미술
VII. 맺음말
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-600-000639271