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한국 현대수묵화(水墨畵)의 회화성(繪畵性)에 대한 연구 - Identity적 관찰(觀察)을 중심으로 -
장준석,Chang Jun-Seok 한국조형예술학회 2005 조형예술학연구 Vol.7 No.-
수묵화는 동양뿐만 아니라 우리 미술을 대표하는 중요한 축 가운데 하나로서 한국 미술의 얼굴이자 현대 미술과도 불가분의 관계를 갖고 있다. 그런데 서양 현대 회화의 다양함이나 실험성, 생경함 등에 밀려 구시대적 유물 정도로 인식되고 있는 듯 하며 , 제대로 된 이론적 바탕을 완벽하게 마련하지 못하고 있다. 현대 수묵화는 한국 미술의 여느 분야보다도 훌륭한 한국성과 예술성 및 정신성을 지니고 있으며 미적인 독창성을 구축하기 위해 노력해야 할 것이다. 이를 위해서는 대상에 대한 진지한 관찰, 수묵화의 여러 특성이나 예술성, 한국인의 삶과 현장성, 또는 그림의 양식에서 나타나는 기호적인 선이나 형상을 바탕으로 한 접근 등이 필요할 것이다. 더 나아가 보다 독창적인 한국의 수묵화를 창출하고 미의 상징성을 확보하기 위해서는 우리의 경험과 시각에서 대상의 본질을 파악하는 것이 무엇보다 중요할 것이다. 이처럼 열악한 한국의 현대 수묵화를 보다 세계적인 미술로 승화시키는 것은 한국 미술의 발전을 위해서도 중요한 문제라 할 수 있다. 한국 미술의 Identity를 확립 하는 것은 곧 한국 미술의 발전을 위해서도 중요한 문제가 될 것이다. This is the one concept of the Korea paintings which defines the korea Art sprite. The line of korea painting is very important. It is impressions, korea artist had mastered the difficult art line of representing movement. That offers the important motive, that is discovery of Identity. this korea painting's line is like to meditation. To meditate is to think and ponder about the same holy truth for many hours on end, to fix an idea in one's mind and to look at it from all sides without letting go of it. That is the purpose behind the greatest of the korean landscape paintings Futhermore that is the purpose Shui-Mo paintings. This is the most important. What the korean value most highly in art. There is something wonderful in this restraint of Korea art, in its deliberate limitation to a few simple motifs of nature. But today, anyone did not interested in this motif. So that Shui-Mo paintings did not concerned too. Therefore, we consider it childish to look for details in pictures and then to compare them with the real world. We masters to acquire such a facility in the handling of brush and ink that write down their vision while their inspiration was still fresh.
이봉순,Lee, Bong-Soon 한국조형예술학회 2008 조형예술학연구 Vol.13 No.-
Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's <Strike>, the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.