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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.12
- 수록면
- 323 - 344 (22page)
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This study is concerning the acceptance of modernism in Shanghai modern art in 1930’s. It’s foundation was laid by Lin Fengmian and Liu Haisu in 1920’s, and there was dual construction of the acceptance. The first one was direct acceptance in Europe, and the another was through Japan. But it is simple logic and not adequate to recognize the latter as distortion and alteration because they could see modernist’s original art works in Japan enough. The fact that both China and Japan are parts of the same East Asian brush culture area, and have traditional literati painting is also to be considered.
There are several types in the acceptance of modernism in Shanghai arts in 1930’s. First, imitation and study can be seen in the cases of Liang Xuhong and Yang Churen who were influenced by Fauvist artists Rouault Matisse, and Deran, Zhou Duo influenced by Modigliani, Lee Dongping influenced by De Chirico, Bai Shi influenced by Eve Tanguy. They showed simple change from the characteristics of western artists, and were criticized by Feng Zhikai as imitation art apart from the Chinese reality.
Some artists tried to compromise tradition and modernism, to express the identity in their own works. Changyu who was influenced by Leonard Fujita, used slim outline and design similar to that of blue-and-white ware was different from another artists accepted modernism unilaterally, and influenced Pang Xunqin, Qiu Di. Fauvism which was accepted through Japan was related with to attempts to enliven the tradition of pre-modern landscape painting in western style painting as in the landscape paintings of Ni Yide, Guan Liang. This is to be said as East Asian link in the acceptance of modernism.
There are several types in the acceptance of modernism in Shanghai arts in 1930’s. First, imitation and study can be seen in the cases of Liang Xuhong and Yang Churen who were influenced by Fauvist artists Rouault Matisse, and Deran, Zhou Duo influenced by Modigliani, Lee Dongping influenced by De Chirico, Bai Shi influenced by Eve Tanguy. They showed simple change from the characteristics of western artists, and were criticized by Feng Zhikai as imitation art apart from the Chinese reality.
Some artists tried to compromise tradition and modernism, to express the identity in their own works. Changyu who was influenced by Leonard Fujita, used slim outline and design similar to that of blue-and-white ware was different from another artists accepted modernism unilaterally, and influenced Pang Xunqin, Qiu Di. Fauvism which was accepted through Japan was related with to attempts to enliven the tradition of pre-modern landscape painting in western style painting as in the landscape paintings of Ni Yide, Guan Liang. This is to be said as East Asian link in the acceptance of modernism.
목차
I. 머리말
II. 1930년대 상해미술의 모더니즘 수용 구조
III. 1930년대 상해미술의 모더니즘 수용 양상
IV. 맺음말
참고문헌
Abstract
참고문헌 (37)
참고문헌 신청
1. [학술지(정기간행물)] - 郎紹君 / 1995 / 서방사조와 중국의 근대회화 / 미술사논단 (2)
2. [학술지(정기간행물)] - 문정희 / 2002 / 1930년대 상해 決瀾社 前衛(아방가르드)性 연구 / 한국근현대미술사학(구 한국근대미술사학) 10 : 87 ~ 117
3. [학술지(정기간행물)] - 문정희 / 2008 / 上海摩登/京城毛斷: 1930년대 소비문화 공간의 매체와 여성 이미지 / 한국근현대미술사학(구 한국근대미술사학) (19) : 190 ~ 210
4. [단행본] - 郎紹君 / 1999 / 20世紀中國美術文選(上) / 上海書畵出版社
5. [단행본] - 李超 / 2007 / 中国现代油画史 / 上海書畵出版社
2. [학술지(정기간행물)] - 문정희 / 2002 / 1930년대 상해 決瀾社 前衛(아방가르드)性 연구 / 한국근현대미술사학(구 한국근대미술사학) 10 : 87 ~ 117
3. [학술지(정기간행물)] - 문정희 / 2008 / 上海摩登/京城毛斷: 1930년대 소비문화 공간의 매체와 여성 이미지 / 한국근현대미술사학(구 한국근대미술사학) (19) : 190 ~ 210
4. [단행본] - 郎紹君 / 1999 / 20世紀中國美術文選(上) / 上海書畵出版社
5. [단행본] - 李超 / 2007 / 中国现代油画史 / 上海書畵出版社
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UCI(KEPA) : I410-ECN-0101-2014-600-000639408