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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2016.12
- 수록면
- 285 - 310 (26page)
이용수
초록· 키워드
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Ahn Sang-chul(然靜 安相喆, 1927-1993) was an artist who showed the wide range of artworks from the flower painting in the modern Literati painting’s style of Korea to the experimental color painting, collage with stones and installation by using electric power. However, his artworks have generally been divided into two periods, ‘the early Oriental-painting period’ and ‘the latter experimental period’, regardless of his diverse approaches in methods, which led to define his practice just as the disconnected, disjoined and limped world. This study hypothesizes that the discourse on the identity of the Oriental painting in Korea is based on the backside of this perspective, and attempts to examine one side of the discussion on the modern abstraction of the Oriental painting.
The artworks of Ahn Sang-chul can be divided into three periods: the initial period (1950-1959) that he received attention with the landscape painting in the style of the ink wash painting from the National Art Exhibition, the secondary period (1960-1977) that he tried to extend the border of the Oriental painting, and the third period (1978-1993) that he showed the fundamental change in the aesthetics of visual art.
As the artist who sought for the fusion of the East and West in the Oriental painting in the 1950’s of Korea by expressing the style of impressionism with the mediums and technique of the traditional Korean brush and ink painting, Ahn Sang-chul started to adapt abstraction in his Oriental painting under the influence of Informel, spread after 1960.
The artworks of Ahn Sang-chul that deviated from the style at that time such as 〈Mongmongchun(朦夢春)〉 and 〈Spirit(靈) 62〉 putting stones at thick cardboards, 〈Sprit 72〉 using the rotten oak wood as the background instead of paper, and 〈Sprit 74〉 changing its body into the three-dimensional structure from the two-dimensional structure constantly innovated in the aspects of both mediums and forms. The art world in Korea at that time criticized that his experiments were not more than the imitation of the Western abstract painting and departed from the identity of the Oriental painting. In this regard, Ahn Sang-chul put importance on the Oriental spirit rather than the use of the techniques of the East or West. The Oriental spirit that Ahn Sang-chul tried to realize in his practice was the world of the spirit(靈). The ‘spirit’ was a space where life and death intersect and at the same time, the world where the basic purity still exists to him. In order to visualize the world of the ‘spirit’, he created the works that maximized the external textures of natural objects such as old trees and stones since he had defined their textures as the textures of the so-called ancient times.
Informel itself reflected the refusal of the modern civilization but his attitude that adapted it in the Oriental style, in other words, the spirit of the East, was the unique interpretation of Ahn Sang-chul who identified himself as an Oriental artist. Also, the attempt to realize the spirit of the East through the materials of natural objects coincided with the course of the Oriental abstraction painting in the late 1950’s of Korea that related the expression of Informel with the brush marks of the Korean calligraphy painting in the traditional Literati painting’s style.
On the other hand, the series of the 〈Spirit〉 in his secondary stage still had the specific images of the traditional landscape painting of Korea thoroughly even if he dug into the materials of natural objects such as wood, soil and stones. Ahn Sang-chul attempted to show the ‘special objects’ that denied every bit of illusion by excluding the artificial intervention of natural objects in his series of the 〈Spirit〉 around 1978. This change especially stood out after his trip to Japan in 1978; the influence of Monoha(もの派) and Ufan Lee were clearly seen in his practice. While continuously producing a series of new experiments, Ahn Sang-chul proved that his experiments visualized the traditional view of nature in the East, called ‘the complete devotion to eternity’, by consistently titling his works with the word ‘spirit’. Like this, he was the artist who wanted to carry the identity of the Oriental painting while pursuing the spirit of the East but at the same time, his artworks made no distinction between the materials and techniques of the Oriental and Western paintings and crossed over the boundaries of painting and sculpture. As a result, his works can be understood as the attempts to raise a question about the boundary of the Oriental painting and blur that boundary.
The artworks of Ahn Sang-chul can be divided into three periods: the initial period (1950-1959) that he received attention with the landscape painting in the style of the ink wash painting from the National Art Exhibition, the secondary period (1960-1977) that he tried to extend the border of the Oriental painting, and the third period (1978-1993) that he showed the fundamental change in the aesthetics of visual art.
As the artist who sought for the fusion of the East and West in the Oriental painting in the 1950’s of Korea by expressing the style of impressionism with the mediums and technique of the traditional Korean brush and ink painting, Ahn Sang-chul started to adapt abstraction in his Oriental painting under the influence of Informel, spread after 1960.
The artworks of Ahn Sang-chul that deviated from the style at that time such as 〈Mongmongchun(朦夢春)〉 and 〈Spirit(靈) 62〉 putting stones at thick cardboards, 〈Sprit 72〉 using the rotten oak wood as the background instead of paper, and 〈Sprit 74〉 changing its body into the three-dimensional structure from the two-dimensional structure constantly innovated in the aspects of both mediums and forms. The art world in Korea at that time criticized that his experiments were not more than the imitation of the Western abstract painting and departed from the identity of the Oriental painting. In this regard, Ahn Sang-chul put importance on the Oriental spirit rather than the use of the techniques of the East or West. The Oriental spirit that Ahn Sang-chul tried to realize in his practice was the world of the spirit(靈). The ‘spirit’ was a space where life and death intersect and at the same time, the world where the basic purity still exists to him. In order to visualize the world of the ‘spirit’, he created the works that maximized the external textures of natural objects such as old trees and stones since he had defined their textures as the textures of the so-called ancient times.
Informel itself reflected the refusal of the modern civilization but his attitude that adapted it in the Oriental style, in other words, the spirit of the East, was the unique interpretation of Ahn Sang-chul who identified himself as an Oriental artist. Also, the attempt to realize the spirit of the East through the materials of natural objects coincided with the course of the Oriental abstraction painting in the late 1950’s of Korea that related the expression of Informel with the brush marks of the Korean calligraphy painting in the traditional Literati painting’s style.
On the other hand, the series of the 〈Spirit〉 in his secondary stage still had the specific images of the traditional landscape painting of Korea thoroughly even if he dug into the materials of natural objects such as wood, soil and stones. Ahn Sang-chul attempted to show the ‘special objects’ that denied every bit of illusion by excluding the artificial intervention of natural objects in his series of the 〈Spirit〉 around 1978. This change especially stood out after his trip to Japan in 1978; the influence of Monoha(もの派) and Ufan Lee were clearly seen in his practice. While continuously producing a series of new experiments, Ahn Sang-chul proved that his experiments visualized the traditional view of nature in the East, called ‘the complete devotion to eternity’, by consistently titling his works with the word ‘spirit’. Like this, he was the artist who wanted to carry the identity of the Oriental painting while pursuing the spirit of the East but at the same time, his artworks made no distinction between the materials and techniques of the Oriental and Western paintings and crossed over the boundaries of painting and sculpture. As a result, his works can be understood as the attempts to raise a question about the boundary of the Oriental painting and blur that boundary.
목차
Ⅰ. 시작하며
Ⅱ. 안상철 작품세계의 시기 구분
Ⅲ. 영과 자연 그리고 동양정신
Ⅳ. 나오며
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UCI(KEPA) : I410-ECN-0101-2017-605-001987708