입체 조형에 있어 한국적 의미의 재조명 = Reinterpreting the Korean Meaning in Formative Art

다국어 초록 (Multilingual Abstract)

In this paper I first examined and tried to understand from the traditional point of view several symbols showing our cultural heritage. Using this understanding as a basis, I looked again at the symbols and made a piece of art trying to show the possibility of new form concretely connecting past and present.
There are very many possible symbols, but for the purpose of this study I chose more frequently appearing ones like the bat, the lotus, the bamboo, the ten longlife symbols, and others.
A country's culture is separate from economic development. A culture irrespective of its origin rises and falls, and developes its own native forms and shapes according to national characteristics.
Today the world global village is commonly used. Massmedia gives the impression that today the whole world has no borders and that we are all part of one cultural entity. Therefore insisting on 'our" things seems perhaps to be an anachronism. But clearly each country has special and beautiful things. When these things possess their own essence, they truely become international. Therefore finding our things with new content befitting our times is one of the most important things to do.
Our recent sad history has made our society an arena of competition for foreign
culture. By mixing our traditional culture uncritically with these foreign cultures and accepting them. it has come to point where we are losing our national conciousness and the culture that makes us special.
Through my artwork, I have tried to find " our fundamental conciousness', on that which gives form and feeling to our traditional cultural sense. Through this kind of work, design is not making a form that never existed or one that is totally new, but transforming and enlargening the formative elements that already are in our past and reinterpreting them in the language of our times. Doing this can be shown again and again to be the most right and necessary thing to do.
The works of the formative arts speak for one's society and also influence that same society. In our day the rate of change is tremendous and can not be compared with the past. The amount and the quality of this change is such that we do not even have the time to choose anymore.
Therefore our cultural environment and conciousness will only be right, and there by influence our society properly, to the extent of the subjectivity and clarity of those dedicated to design and the formative arts, and only of there is a concious search for our soul.
Our native and beautiful feeling and form can always be reinterpreted. In artwork there is no need to copy foreign and exotic culture, for multiple expressions are always possible.
Further more this kind of effort helps us experience the truthfulness of the creative act. When something has natural form, besides the nation building purpose of holding on to 'our" things and being adamant about our national characteristics, it is like meeting something old and familiar. Especially in the formative arts, which are one of the various elements constituting culture, this kind of concious effort is the most important thing one can do. In the future I intend to continue this study.

목차 (Table of Contents)

• Ⅰ.서언
• Ⅱ.연구 방법
• 1.연구 대상 범위
• 2.연구 방법 개요
• Ⅲ. 연구 및 응용대상의 전통적인 한국적 의미
• 1. 거 북
• 2. 박 쥐
• 3. 개구리
• 4. 연 꽃
• 5. 대나무
• 6. 빗살무늬 토기
• 7. 십장생 문양
• 8. 각형 기물
• Ⅳ. 연구 제작 사례 및 응용
• 1. 박쥐문양 은 수저받침
• 2. 박쥐모양 진주 금 장식핀
• 3. 자수 박쥐문 손거울
• 4. 연꽃모양 대모 은 장식핀
• 5. 은 잔 및 접시 '연지'
• 6. 수반 '공존하는 세상'
• 7. 개구리 모양 연적
• 8. 청동 각형 촛대
• 9. 은 각형 과자그릇
• 10. 은 동 각형 식물문 조각 필통
• 11.강철 은 동 십장생문양상감 문진
• 12. 은 흑단 대나무 모양 주교목장
• 13. 나무 적동 혼백을 위한 조형
• Ⅴ.맺음말