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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第41號
- 발행연도
- 2015.12
- 수록면
- 250 - 262 (13page)
- DOI
- 10.14380/AHF.2015.41.250
이용수
초록· 키워드
오류제보하기
First I claim that the attraction of Japanese art is often to be found in the coexistence of the representational and the abstract in one continuous space. The examples are Deep bowl (Kokubunji, Tokyo), Standing Yakushi Nyorai (Jingoji, Kyoto), Landscapes with Sun and Moon (Kongōji, Osaka) and Red and White Plum Trees (MOA Museum of Art, Shizuoka) by Ogata Kōrin. Before the 19th century, European and Chinese art seems to have disliked the coexistence or juxtaposition of the representational and the abstract.
Secondly I argue that Japanese art is very conscious of the effect of cropping an object with the pictorial frame. The motifs breaking the frames have their greatest effect in Picture Scroll of the Legends of Shigisan (Chōgosonshiji, Nara), Wind and Thunder Gods (Kenninji, Kyoto) by Tawaraya Sōtatsu and ‘Gun’ Prostitute (Teppō) by Kitagawa Utamaro.
To sum up, there is no boundary inside of the artwork, and at the same time, it is framed on the outside. Artworks possessing these characteristics generally intend to beautifully arrange planes or solids, and never try to thoroughly represent real nature or human beings. Japanese art possesses a sense of reality that captures the hearts even of us modern people, but that sense of reality is always limited to some parts. Abstraction, a very different mode of depiction, coexists with the representational mode in the same pictorial space. Japanese art concentrates its attention on the inner space within a frame, and finishes it off beautifully. Its ambiguity and refinement probably are a result of its derivative character, which is alien to European or Chinese art. But seeing these characteristics from another point of view and appreciating them positively, we might conclude that the fascination of Japanese art, as well as its power in creating contemporary visual culture, lies in this flexibility and in this high consciousness of arrangement, which permit the coexistence of contradictions.
Secondly I argue that Japanese art is very conscious of the effect of cropping an object with the pictorial frame. The motifs breaking the frames have their greatest effect in Picture Scroll of the Legends of Shigisan (Chōgosonshiji, Nara), Wind and Thunder Gods (Kenninji, Kyoto) by Tawaraya Sōtatsu and ‘Gun’ Prostitute (Teppō) by Kitagawa Utamaro.
To sum up, there is no boundary inside of the artwork, and at the same time, it is framed on the outside. Artworks possessing these characteristics generally intend to beautifully arrange planes or solids, and never try to thoroughly represent real nature or human beings. Japanese art possesses a sense of reality that captures the hearts even of us modern people, but that sense of reality is always limited to some parts. Abstraction, a very different mode of depiction, coexists with the representational mode in the same pictorial space. Japanese art concentrates its attention on the inner space within a frame, and finishes it off beautifully. Its ambiguity and refinement probably are a result of its derivative character, which is alien to European or Chinese art. But seeing these characteristics from another point of view and appreciating them positively, we might conclude that the fascination of Japanese art, as well as its power in creating contemporary visual culture, lies in this flexibility and in this high consciousness of arrangement, which permit the coexistence of contradictions.
목차
一、具象的なものと抽象的なものとの共存
二、画面の枠への意識
三、結論
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2016-650-002430765