회화에 있어서 동물성의 실재적 표현에 관한 연구 = A Study on the Representation of Animal Nature in Painting

다국어 초록 (Multilingual Abstract)

As human beings and animals are distinguished from each other not in terms of difference, but in terms of discrimination, and humans are represented as belonging to a hierarchy higher than animals, humans who are no more than a category of animals are placed on top of all animals. In particular, with the advent of modern society and capitalism, the life of animals has been thoroughly converted to the value of capital in the process of replacing life with monetary value by rearranging ‘life’ for rationality and profit. As a result, the rampant infectious diseases transmitted by animals nowadays sometimes turn into attacks on human society. It should be noted that the destruction of animals and animal nature is a prelude to the end and doom of life as a whole, and it is equivalent to the self-destruction of humans. In this respect, maintaining animals and animal nature is linked to the continuation of human life. Therefore, the researcher tries to explore in this study the relationship between animals and humans, elucidate and express the essential principles of human and animal life.
First, by examining ‘animal drawing’, which is the origin of art in general, this study aims to identify the fundamental nature of the primitive aesthetic expression before the beginning of art. Drawing an animal is something different from depicting an animal as an object outside of human beings. In other words, drawing animals is drawing human beings at the same time, and is far from superficially “reproducing” animals. For this reason, animal drawing can be seen as a visualization of opaque boundaries between humans and animals.
On the other hand, this paper examines some paintings of icons to illuminate the history that animals have been reduced to tools or functions for human beings in the process of the animal images transformed into the expression of sacredness. This paper also explores the abstract transformation as an expression of transcendence and examines its essential nature. This study aims to review the modern trends of representing animals and human beings that are intertwined with each other in various and complicated relationships in contemporary society, and endeavors to establish new coordinates of my drawing of animals. Drawing animals is in direct contact with the task of recalling the fundamental question, ‘What is painting?’ In order to expand the territory of painting, there is a need for an endless effort to get access to the reality like the invisible force that is not captured by our cursory observation. It means groping for possibilities to find other forms of power that is not subordinate to the current hierarchy of animals and human beings. It is an open-minded approach to animal nature, which would allow us to ponder over the circumstances of animals today and possible directions of intervention. Therefore, the approach to animal nature in painting makes it possible to look at the problem of society as a whole, not just the problem of animals. And this is a fundamental and intrinsic approach to the possibility of opening up alternative ways of life. In other words, if art is faithful to its inherent methods and bases itself on art itself or on the intrinsic nature of humanity, it is none other than to capture ‘animal nature’ as something fundamental.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제제기 및 연구목적 1
• 2. 연구범위와 방법 4
• Ⅱ. 기원으로서의 동물그리기 7
• 1. 알타미라 동굴벽화 9
• 2. 라스코 동굴벽화 12
• 3. 반구대 암각화 14
• Ⅲ. 성스러운 동물과 동물 그리기의 추상적 변형 17
• 1. 이콘에 나타난 동물 이미지 20
• 2. 민족종교와 동물 상징의 형성과 인간의 동물화 과정 23
• 3. 러시아 절대주의자들의 성스러운 회화와 그 이후 26
• Ⅳ. 연구자 회화에 나타난 동물성과 그 의미 28
• 1. 연구자 회화의 시대사적 의미와 의의 28
• 2. 동시대 회화에 나타난 동물 이미지표현의 주요경향 31
• 2.1. 살 작업 32
• 2.2. 털 작업 34
• 2.3. 캐릭터 작업 36
• 2.4. 리얼한 작업 38
• 3. 연구자 회화에서의 동물 이미지와 패턴 39
• Ⅴ. 결론 52
• 참고문헌 54
• 도판목록 56
• ABSTRACT 58