謙齋의 藝術世界

신찬호 朝鮮大學校 大學院 1989 국내석사

Paintings of Korea which are closely related to those of China create the most Korean and nationalistic painting Style in the new movement which is the Renaissance and shilhak thought started in the 17th century. Especially the appearance of kyum Jae(1676-1759) who was born in the late 17th century brought on a new turning point n the world of art in Chosun. He, who took a serious view of tradition and learned various painting styles of China, created the Jinkyung landscape with a unique technique and expressive mode. He also established a new tradition in the Korean art world by creating great artistic works with creative composition and characteristic style in his paintings by making the best use of characteristics of scenes during his travels around the country looking for new materials Therefore this study investigates Jung Sun's life and his works as follows : (1) The background of painting in the late Chosun Dynasty (2) Kyum Jae's life , the meaning of Jinkyung landscape, the spirit of Jinkyung and his works. (3) The painting style after Kyum Jae through the works of the Kyum Jae fraction.

韓國 傳統紋樣의 硏究

노의웅 朝鮮大學校 大學院 1990 국내석사

Our nation's aesthetic sense is contained in essential goods of life which human beings use. I'll research the types and developing processes of our traditional designs have been found out in various decorative designs of artistic handicrafts, clothes, and paintings of our traditional structures because our nation's aesthetic sense is in good harmony with their living environment. It is our nation's own characteristics in the field of our traditional designs. So I, graduate student of Fine Art , will try to research and understand our traditional designs which are easy to be neglected. Though abstract and geometrical designs, such as those of thunder, clouds, flowers, and animals-which have been found out in crockery, lacquer works, ornaments made of iron, including bronze wares-are not necessary elements in our daily life , the culture of the epoch using those designs generally reflect a meaningful and profound mentality. Such designs are of primitive figures such as simple circle ones, concentric circle ones, and comb-shaped ones. But we can know that such decorative designs have their own important d n g s because they have been handed down and developed into our lives till now on at a stretch. As our ancestors placed great importance even on animals, the sun, the moon, and other things which are scattered in the universe, they could have a holy horror of supernatural and great things. So they translated supernatural and great things into art through the humanization and worship of the things. And they have been developed and handed down as symbolical designs which originated from primitive religions such as totemism and animalism. The geometrical designs can be divided into two types : one comes from an artistic process, and the other from an art of simple decoration. Moreover these geometrical designs are transformed into several subtypes by way of symbolical desires. Thus the simple decorative art has been handed down to us as a geometrical artistic pattern meeting spiritual demand for simple geometrical structures. when we understnad exactly the characteristics and types of our traditional designs, and develop and hand down them, we can have a sense of superiority of our traditional designs. As I examine the developing processes of the traditional designs with the change of the times, I'll try to help understand our traditional designs, and to research the origination, the formation, and the developing processes of the designs basing on the historical, ideological, and socio-economical backgrounds. And I'll also classify our traditional designs according to their characteristics. Especially, our traditional designs have been developed by way of very symbolical styles and colors via Confucianism, Buddhism, and Zen within the aesthetic category of the Oriental art. In this thesis, 1'11 try to stuey our traditional designs which have been used in our daily life , and know how those designs influence the Korean art history. And I'll try to understand exactly our nation's aesthetic sense of the traditional designs which have been developed and handed down so far.

朝鮮朝 人物畵의 象徵性 硏究

장현우 朝鮮大學校 大學院 1991 국내석사

This paper investigates the korean characteristics, symbolism, working background, types and periods expressed in the portrait of Yi Dynasty. Korean portrait has been expressed by an instinctive expression from the prehistoric age and as a pictorial meaning it was expressed through the wall painting of an old tomb in Komyo of the period of three kingdoms, and the portrait of Yi Dynasty was based on the production of portrait by color dictionary in the Unified shilla and the development of painting for Taoist hermit with supernatural powers according to the voguo of Buddhism and Taoism. in Koryo age. Yi Dynasty can be divided into three periods as following : The early period was mainly centered around the portrait expression by Ideology for Confusion Discourse and prevailed Idea for Skill Cheap-Treated by class consciousness. In the middle period, positivism though was risen by disorder of society due to two great wars and the people consciousness was begun to develop, and the portrait developed by the introduction of western painting technique was prevalent. The late period showed the character painting as a genre painting and caricature that have strong popular and koren originality with actual scene landscaps by Jung, Hwan(1676-1759)and the participation degree of common people for painting became high, and so it showed pictorial symbolic beauty in the character expression. As a result, the portrait in Yi Dynasty presents folk, popular and original painting modes thanks to exploitation and development of subjects as the korean meaning Therefore, this study is to review the above mentioned characteristics, to examine a new understanding about the traditionality of korean painting and symbolism of character expression in the painting of Yi Dynasty, and to explain how did Yi Dynasty's painting influence our modern korean portrait. Also this study investigates the history of portrait and Yi Dynasty's portrait, analyzes the symbolism of character expression through the background of the times by types and explains the characteristics of their symbolic meanings.

南農 許楗의 生涯와 作品에 對한 硏究

김재일 朝鮮大學校 大學院 1991 국내석사

Ho Kon(1907-1987) is one of the two great painters leading a group of painters in Honam province with Ho Pak-Ryon (1891-1977), which formed a unique 'Honam' painting circle. When we divide traditional paintings into two periods, darly modern and late modern period, we can see that there ate some distinct regional styles of paintings in Honam painting group. This is characterized by the inheritance of the style of traditional Southern School paintings and their mental basis, contrasted with the other painting groups which show creative selr-realization based on the new spirit of that times. In other words, painters of Honam painting group showed consistent admiration toward the change of Seoul -centered paintes since 1920s. Within the firm regional painting atmosphere of Honam painting group, however, there were. also some 'resistants' who aspired to pursue their own worle. They represent one aspect of inevitable reaction to the rigid Honam style. That is, in inheriting the Southern School by Honam painting group were two streams of painter : one was to maintain the classical style, guided by Ho Paek-ryon : the other was to apply the revolutionary method creatively to the old style, headed by Ho Kon. Southern -Style paintings, which were budded in China and popularized in Korea from the middle to the late period of Yi Dynasty, wielded the great power centering around Kim Chong-hui. That was a reverse phenomenon of reverting to the Chinese painting stye, while there was also an atmosphere of Korean-style painting influenced by positivism and rationalism. Ho Ryon(1809-1892) received instruction of poetry, calligraphy and painting at Kim Chong-hui's feet, and his painting style was that of A Chan(1301-1374) and Hwang Kong -mang(1269-1354) among four masters in the late won period. Then his style was inherited to his son, Ho Hyong(1861-1938), his grandson Ho Kon and his collatral grandson Ho Paek-ryon, forming a basis of today's Honam painting. Though Ho Kon was in the line of the great Ho's family inheriting the Southern School painting and moreover fixed himself in Mokpo from about 1930, his style is worth nothing in that he pursued those days' new spirit of painting early. This paper treats his developmental process of painting till he pursued individual spirit, alongside with his career divided into the three periods for a convenience. At the same time, by considering his achievements in detail, this paper tries to shed the lights on today's painting.

독일표현주의를 중심으로 살펴본 표현의 조형적 의미와 양상

이하영 조선대학교 대학원 2004 국내석사

남관의 문자 추상화 연구 : 휴머니즘에 근거한 남관 예술론과 그 조형적 발현으로서 추상적 인간상

김정선 조선대학교 대학원 2004 국내석사