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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.
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초록· 키워드
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The aim of this thesis is to explore the paintings of Kim Jonghak in light of the relation with traditional arts. Kim Jonghak gained wide popularity as an artist owing to his paintings that depict the splendor of nature and deliver the strong vitality in it. Settling down at Mt. Seorak area and being captivated by ever-changing scenery of mountain area at each season, the artist tried to capture the essential beauty of nature, which is never subordinate to the dominant art theory and movement. The nature in his paintings, filled with vitality and colorful flowers is an internal prospect reconstructed by the artist, rather than a realistic description. He presented the dual aspects of nature vibrating in between the decadence and purity by applying both improvisational gesture and abstract painting skill. He could build up much more powerful oeuvres by infiltrating the aesthetic value of traditional art onto the paintings, which was acquired through the folk collection.
Throughout his lifetime, Kim Jonghak had kept on collecting with a keen interest in traditional arts. He felt fascination with the antique collection under the social atmosphere that stressed national pride and identity. Kim Jonghak preferred the unrestrained handicraft works created by nameless people to the masterpieces. He discovered the contemporary beauty inherent in those folk art and concentrated on having a critical eye for them. In doing so, the acts of collecting folk art on a personal level until 1980’s was much developed into the artistic momentum inspiring on his practice, especially on the representational paintings. The very unique series of representational paintings were created by encapsulating the aesthetic traits of colors and forms explored from the traditional arts.
The paintings of the landscape and flower in which Kim Jonghak expressed through the simplified forms and vernacular colors suggest that the series of works were largely influenced by his beloved collection of folk arts. The landscapes of woods and floral paintings, the most representative works of Kim Jonghak were the recreated scenery. The sense of perspective and depth were eliminated, hence the objects were evenly distributed in the painting in the lightless and shadeless state. It is a combined way of works that adopts the western abstract painting of and the Korean folk paintings and handicraft works. It is rooted from the traditional arts and crafts using the primitive colors and complementary color contrast in order to illustrate a splendid nature. The trial to translate the vernacular colors into more contemporary sensibility is worthy of note in respect that such efforts keep the tradition of color painting of Korea. Furthermore, Kim Jonghak used to reproduce oil paintings by actively receiving an array of traditional paintings of the Joseon Dynasty. Accordingly, the legacy from the past was connected to modern works by freely adopting the artistic traits from the past.
The representational painting series in which the various characteristics of traditional arts were reflected directly and indirectly shows the clear association with the artist’s taste toward folk arts. To the artist, the activity of collecting folk arts is an indispensible aid to sophisticate the eye on arts, a tool for learning himself and a motivity of prolonging the performance for longer time. Kim Jonghak harmonized the freewheeling expressions with traditional aesthetics and in doing so, he could work on the nature as a persistent theme in diverse ways. Kim Jonghak’s paintings that inherit a tradition would be a meaningful work in a way that it expands the extension of representational paintings of Korean art.
Throughout his lifetime, Kim Jonghak had kept on collecting with a keen interest in traditional arts. He felt fascination with the antique collection under the social atmosphere that stressed national pride and identity. Kim Jonghak preferred the unrestrained handicraft works created by nameless people to the masterpieces. He discovered the contemporary beauty inherent in those folk art and concentrated on having a critical eye for them. In doing so, the acts of collecting folk art on a personal level until 1980’s was much developed into the artistic momentum inspiring on his practice, especially on the representational paintings. The very unique series of representational paintings were created by encapsulating the aesthetic traits of colors and forms explored from the traditional arts.
The paintings of the landscape and flower in which Kim Jonghak expressed through the simplified forms and vernacular colors suggest that the series of works were largely influenced by his beloved collection of folk arts. The landscapes of woods and floral paintings, the most representative works of Kim Jonghak were the recreated scenery. The sense of perspective and depth were eliminated, hence the objects were evenly distributed in the painting in the lightless and shadeless state. It is a combined way of works that adopts the western abstract painting of and the Korean folk paintings and handicraft works. It is rooted from the traditional arts and crafts using the primitive colors and complementary color contrast in order to illustrate a splendid nature. The trial to translate the vernacular colors into more contemporary sensibility is worthy of note in respect that such efforts keep the tradition of color painting of Korea. Furthermore, Kim Jonghak used to reproduce oil paintings by actively receiving an array of traditional paintings of the Joseon Dynasty. Accordingly, the legacy from the past was connected to modern works by freely adopting the artistic traits from the past.
The representational painting series in which the various characteristics of traditional arts were reflected directly and indirectly shows the clear association with the artist’s taste toward folk arts. To the artist, the activity of collecting folk arts is an indispensible aid to sophisticate the eye on arts, a tool for learning himself and a motivity of prolonging the performance for longer time. Kim Jonghak harmonized the freewheeling expressions with traditional aesthetics and in doing so, he could work on the nature as a persistent theme in diverse ways. Kim Jonghak’s paintings that inherit a tradition would be a meaningful work in a way that it expands the extension of representational paintings of Korean art.
목차
Ⅰ. 머리말
Ⅱ. 김종학의 고미술품 수집
Ⅲ. 김종학 구상회화에서 드러나는 고미술의 영향
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (47)
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UCI(KEPA) : I410-ECN-0101-2018-605-001175600