한국민화의 조형원리 찾기

다국어 초록 (Multilingual Abstract)

The purposes of this study was to analyze the ideological basics and plastic elements to illuminate the principles of aesthetic expression in various Korean folk paintings.
Korean folk paintings are used for the interior decoration in the consideration of a pure color beauty. The contents of painting ate health life & longetivity, prosperity of descendents, wealth & fame, and prevention of caramity. People induce the incantational thinking principle model that they could acquire the same expectations as the contents of folk paintings by seeing and percepting repetitiously in their homes decorated with folk paintings.
The forms of folk painting are hanging paintings, long wall paintings, and folding screens. The forms and contents of folk paintings are determined according to the usages and hanging places. Folk paintings are drawn as a couple and wall hanged, or used as a folding screen of 6 - 8 scenes according to contents. When people papered their homes every several years, they usually substituted old folk paintings with new ones for interior decoration. The place of displaying folk paintings according to their contents are related with the function of a living space and a conscious structure formed from the private faith.
The space structure of folk paintings are expressed according to the consistant structural principles to be faithful to the intention and the theme of the folk paintings, not to be inclining to the formal aesthetics. The characteristics of folk paintings are complexity of unrestricting view point(=multi view points) which front, back and side of a subject were positioned on a same space to express the subject perfectly, reiteration of the subject and theme, repetition of theme and expression, and symmetrical compressive expression.
The shapes of a subject in folk paintings are conceptual with realistic and simple outline. The shapes are recalled in the memory, not restored through sketching. The shapes are a kind of a code which ventilates the experienced world by the tradition collectively through the shapes of a well known subject and a theme, not restored from a painter's memory. The outline follows the brush line of a tint or an ink-stick, and expresses the structure, pattern, color which show the characteristics of a subject, not the harmony of the shapes. This painting method is an open-plane of 2 dimentional, not 3 dimentional.
The color structural method of folk painting shows a strong color contrast of 3 basic colors, and is characterized a parallel mixture of midway combination method to maintain the original color purity. This is because a folk painting intends to express the shapes of a subject completely, not to depend on the perceptual aestheics of eye-sight as general paintings. It shows a bright and cheerful atmosphere through a harmony of distinct color values and color areas, not a strong basic color combination of an apparel of stripes of many colors and a temple picture of many colors and design.
This kind of bright and cheerful color usage is the distinct color scheme of folk paintings. We cannot find a snow scene in any folk paintings. Also, this shows the aesthetics of lifestyle and decoration of our ancestors who persuited luxury colors, and tried to decorate their interiors brightly and cheerfully.
The visual characteristics of folk paintings are practical, religious, educational functions. Because folk paintings are the expression of accomplishment for instinctional needs of human beings, we can find an aesthetics of association in the folk paintings which are stereo-typed in the process of repetition, transmission, and search for the proper plastic method. If folk paintings follow the proper plastic principles which can express the beauty of contents of a subject completely, they are said to have a highly valued artistic influences which can impress the moderns as artifacts with unified contents and forms.