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심산 노수현의 산수화
The landscape paintings of No Su-Hyun

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Authors
김용철
Issue Date
2000
Publisher
서울대학교 조형연구소
Citation
造形 FORM, Vol.23, pp. 137-149
Abstract
The first generation painter of the Modern Age in Korea, No Su-Hyun's works have to be evaluated from a new perspective point. As yet his works have been lowly evaluated because they are not unique in contrast to other painters' works such as Lee Sang-Beom's and Byun Kwan-Sik's. As an attempt to correct the current view, I will analyze his landscape paintings based on the classification of traditional and post-traditional elements in the motif and brush work.
It seems that his works changed since he joined the Exhibition of Chosun Art (朝鮮美術展覽會) sponserd by the Japanese colonial government in 1922. As seen in High mountain and flowing water (高山流水) which he exhibited in the 1st Exhibition of Chosun Art, there were many traditional elements in his painting. However, after that exhibition the post-traditional elements such as law sight and real space increased. It seems that he was influenced by works of Western style paintings and modern Japanese paintings. Also, the group Dongyon-sa(同硏社) which he organized with Lee Sang-Beom, Byun Kwan-Sik, and Lee Yong-Woo in 1923, is very important in the development of his works. They purposed to break away from the influence of Chinese paintings and the exclusion of Japanese painting. There are some works which show post-traditional elements to describe the real world during the 1920's. Nevertheless, it seemed that he fell into mannerism after the late 1920's and returned to traditional non-real, ideal painting. His return to traditional painting reflected his inclination toward nationalism. He stopped to exhibit The Exhibition of Chosen Arts but joined in the Exhibition of Seohwa Association(書畵協會展覽會), which was formed by Korean artists, and Korean patrons supported him far this time.
Language
Korean
URI
https://hdl.handle.net/10371/67099
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College of Fine Arts (미술대학)Visual Arts Institute (조형연구소)Form (조형)Form (조형) vol.23 (2000)
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