동양사의 미적 소통 ; 서양과의 미적 소통에 대한 동양의 서체동향의 기능 = Communication of Beauty between the East & the West ; A Function of Oriental Calligraphic Impulse on Artistic Communication with the West

다국어 초록 (Multilingual Abstract)

The Western society, having faced with calamities of the World War Ⅱ since 1945, has to struggled to establish new aesthetics and ideologies. As for some American-European abstractionists, the Chinese calligraphic techniques, with their aesthetic ideas, were newly recognized and the forms of Chinese characters as symbols or signs were accepted as pure pictorial senses beyond a mere communication of literal senses. The main character of Abstract Expressionism as a phase of modem art was created by them, and these characters were related to Oriental calligraphic elements whether it were directly or indirectly, by which mutual communication between the two may be considered as an important factor in describing the Western art history. The fact that the calligraphical impulse, the system of expression, in Sumuk(Drawing with Indian ink) art failed to develop into Oriental modern art, only developed in the West in advance, is very ironical. The calligraphic impulse found in the arts reversely imported from Informel or Action Painting developed in the West, has implanted Korean artists of Oriental drawing and Western painting in the 1960s with an impulse of drawing. In particular, as for Korean artists of Western painting, to discover the literary character and calligraphic impulse suggests an extensive reflection of profound mentality characterized by Oriental art, in the process of their continuous efforts to explore the system of moern value being led to `a return to nature.`