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이주리 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1
His early works had been wrapped with cans, bottles, and other small objects, but as he progressed his work style, it was harmonized with nature and buildings and bigger in scale. Upon conducting research about Christo, I was unable to find thesis and writings about his works in itself. Christo's work is not seen as a work of art, but more of an event. I have researched particularly on the study about Christo wrapping and veiling works. Christo's Works sometime consisted of non observable materials such as air which were wrapped with fabric. his works were created with the things you can easily see around our environment. His reason for wrapping is to practice free will. This thesis will explain the meaning and the thought about Christo's works. Wrapped objects distinguishes that it had an ordinary thing. His type of specialty gave mysterious, sublime and unique feeling to his spectators. However, sublime disputes about Christo's works was about greater scale, this thesis claim the sublime of cloth. Upon viewing the history of art, his work concluded the cloth(or veil) as innocent and luxury. So to speak, when the spectators see it veiled, they can unconsciously sense the innocence, and luxury. Accordingly, the spectators sense the sublime feeling upon seeing the veil. These feelings changes the meaning of the wrapped inner object. When the veil is released, the inner object is treated nobly thus give meaning that the wrapping itself gives the inner object a formation. Christo's wrapping work is not just a simple wrapping, it transforms the object's meaning to the spectators. Cloth has various symbols and contents in the art history. Christo's work should not be emphasized in the material or substance alone, but looked into as an artistic point of view.
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시각적 매체를 활용한 한국화 감상영역의 수업 효과 분석 : 중학교 3학년을 중심으로
변지연 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1
In the 7th revision of processing education, the subject of art would more extend in terms of appreciative sense recently; among the three senses, such as aesthetic, expressive, and appreciative. As well as, it makes a point about traditional art because of established Korean's subject-hood in Korean traditional culture. Becoming modern society, a great many new trends of cultures are coming, but the biggest new trend is visual culture in today. Moreover, a great many people are easily touching visual culture by commercial film and TV drama show. Because of postmodernism, the education of art has to start from aesthetic sense of culture for the student. As well as, it needs critical understanding to Internet, Commercial, advertisement, and Media. Accordingly, this research is based on the consequence of traditional art; it analyzes effective ways of Korean-painting by using visual culture of matehal. As method and scope of research are; 1. How to study the theory of background knowledge in visual culture of education 2. How to know concept and background in terms of Korean painting during appreciative education of Korean painting 3. How to use visual material during appreciative education of Korean painting class 4. Analyzed effective way of teaching plan and giving a result. This was the random sampling from grade 3 (74 students) D middle school, in S region, and 37 people of control group as well. Furthermore, based on the average and standard deviation in terms of interesting of Korean painting, it did t-test and paired-t test because of difference of testing about research. It did survey not only control group, but also experimental students as well. Those experimental students join the using visual material of Korean-painting class plan in this research. After that, it increases and helps interesting and understanding Korean painting. Therefore, appreciative Korean painting of improvement is more class time during week (1 class per week, and 45' per class) and limited visual material at the school. Nevertheless, during research it had limited to show Korean painting by computer(PPT) for students. Defiantly, after using visual material, they are more interested in Korean-painting and understanding easily. Equally, there is a great many obstacles to use visual material at the school, but people have to study and keep eyes on the Korean traditional arts.
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정수경 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1
The Benedictine Order came to Korea with an educational mission at the request of Bishop Mutel in 1909. Their purpose was to help the work of the parish through education and art. The Benedictine Order founded the Soongkong Technical School in 1910 and provided handicraft training so that Koreans could go on to create works of art for Catholic churches in Korea. They also built their abbey in occidental style and introduced German Beuron Art into Korea. Louis Chang(1901~2001), the first Korean artist devoted to Sacred Art, was influenced by Beuron Art and personally wrote about in it in a monthly magazine called "Catholic Youth" in Feb. 1934. After national liberation, the Benedictine Order stopped their activities due to suppressions under the communist government. They resumed their activities in 1952 with the building of the Waegwan Abbey. During this time, their missionary activities gained momentum in art, as well and education and social work. Most of all, the activities led by Alwin Schmid (OSB, 1904~1978) and Andre´ Bouton (OSB, 1914~1980), who devoted their efforts to building churches and manufacturing mural paintings, are a tremendous achievement considering the circumstances of the Korean Catholic art of that time. Works by Alwin Schmid and Andre´ Bouton are significant in that they introduced the Beuron style and French Fauvism to Korean and that they created indigenized church art through their particular style of expression. There has been a large body in research on the missionary activities of the Benedictine Order, in areas such as education, social work, publications and media, but there is a lack of research in the area of art, except for church architecture. This study aims to reassess the value of activities in art led by the Benedictine Order, whose arrival in Korea will reach its 100th anniversary in 2009, with an emphasis on the church art pieces actively created during the Waegwan Abbey period.
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우혜승 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1
A object is only illusion on canvas as if it is like a reality. Because it is not a reality but a trick that is seen like a reality. In this thesis, the first I examine the work which was drown expressive method in sentiment and experience of myself. The second I studied my works in the side of inner element. And the last I could arrange my works during that time and came. For the subjective expression of method, I expressed the line with indian ink from the vitality side. The line showed the most power of expression and the possibility of unlimited moving and was used the fastest method in the oriental paintings. The color of indian ink is only black but express a lot of real object in nature. And also it has a lot of abstraction on canvas and could know about self-will through the indian colors. The vitality of line through one time brushstroke is a basis of abstraction and methods of Seok-do, and it shows the way of objects and subjects. The basic purpose is combined with traditional method and formlessness through formlessness. At this time the method of formlessness means the condition before nature into artificiality. One time brushstroke means that a method and concept is not a respectively theory but a harmony of mutuality. When these are integrated, it is said to be created the one time brushstroke. Seeing the theory of To-ga, the reality of universe and all things means not a fixed subject but a living and dynamic ones with together a respectively inner expression and a mark of painters feeling. Mul-a-il-che means that I and others unconsciously becomes one. As it is, the center of universe and all things is oneself and it is appeared personal experience. That is to say, the nature makes not a objectifying but a becoming personality. As like this theory, I would like to express the object that is not a meaning with common sense but with self-feeling. I wanted to reflect a lot of sound of mine and a substituting self-feeling for object on canvas. The following theories, the feeling on canvas is longing for something. Though the works are expressed personal emotions, it is not a personal dimension but a universality. So I have studied the properties of the line and indian ink in this thesis. And also I have studied the properties of painting instruments about the vitality and naturalism in the theory of one time brushstroke. Finally I would like to study how to processs self-feeling into the formalizing on canvas.
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