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書-畵의 추상화 과정에 관한 試 : 1930년대-1960년대 일본과 한국화단을 중심으로

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Authors

정형민

Issue Date
2000
Publisher
서울대학교 조형연구소
Citation
造形 FORM, Vol.23, pp. 1-20
Abstract
The most apparent change that took place in Asian painting in the 20th century is abstraction. As abstraction developed, gradually the discussions on the origin of the abstract art began to arise. Abstract style in Asian art was viewed to be the adoption of European modernism on the one hand. Sometimes though, it was traced to the Asian tradition itself. As Informed and Abstract Expressionism became the dominant art movement after World War II, the line separating the so-called "Western painting" and "Oriental Painting" appeared to be disappearing. And the effort to trace the origin of the abstract art became in fact an issue of identity far the latter. The origin was traced by Asian artists and critics in the literati theory of art, ink painting and calligraphy, in that sa-ui, xie-i in Chinese(寫意, 'writing-out the idea'), that describes the major objective of literati art. is in fact equivalent to abstraction in the modern sense. According to Western critics, like Clement Greenberg, the stylistic similarities between the arts of the East and the West were the result of convergence or accident at least, and that abstract expressionism owes nothing to the Oriental calligraphic art.
This paper examines the development of abstraction in Japanese and Korean traditional painting from the 1930s to the 1960s in the context of interaction between calligraphy and painting. With the introduction of European art, which considers painting as the prime art and calligraphy as merely a form of writing, calligraphy lost its status as an expressive device of thoughts by lofty scholars from late Meiji(明治, 1868-1911). The proper method of painting, according to the literati theory of art, was to paint with resilient calligraphic brushwork as if form was written out (xie 寫) instead of being painted (hua 畵). In the 20th century, calligraphlc painting, meaning painting done in calligraphic brush method, changed into painterly calligraphy. Painterly calligraphy means that calligraphy was practiced for its formal beauty only in the same way as the paintings were produced.
The most apparent change that took place in Asian painting in the 20th century is abstraction. As abstraction developed, gradually the discussions on the origin of the abstract art began to arise. Abstract style in Asian art was viewed to be the adoption of European modernism on the one hand. Sometimes though, it was traced to the Asian tradition itself. As Informed and Abstract Expressionism became the dominant art movement after World War II, the line separating the so-called "Western painting" and "Oriental Painting" appeared to be disappearing. And the effort to trace the origin of the abstract art became in fact an issue of identity far the latter. The origin was traced by Asian artists and critics in the literati theory of art, ink painting and calligraphy, in that sa-ui, xie-i in Chinese(寫意, 'writing-out the idea'), that describes the major objective of literati art. is in fact equivalent to abstraction in the modern sense. According to Western critics, like Clement Greenberg, the stylistic similarities between the arts of the East and the West were the result of convergence or accident at least, and that abstract expressionism owes nothing to the Oriental calligraphic art.
This paper examines the development of abstraction in Japanese and Korean traditional painting from the 1930s to the 1960s in the context of interaction between calligraphy and painting. With the introduction of European art, which considers painting as the prime art and calligraphy as merely a form of writing, calligraphy lost its status as an expressive device of thoughts by lofty scholars from late Meiji(明治, 1868-1911). The proper method of painting, according to the literati theory of art, was to paint with resilient calligraphic brushwork as if form was written out (xie 寫) instead of being painted (hua 畵). In the 20th century, calligraphlc painting, meaning painting done in calligraphic brush method, changed into painterly calligraphy. Painterly calligraphy means that calligraphy was practiced for its formal beauty only in the same way as the paintings were produced.
Language
Korean
URI
https://hdl.handle.net/10371/67073
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