RISS 검색 - 국내학술지논문 상세보기

다국어 초록 (Multilingual Abstract)

In the 1980s, the art movements in both South Korea and China underwent tremendous changes, where lots of realistic significance similarities can be observed. The art movement in South Korea is a social democratization movement, while in China is one for ideological emancipation. At the same time, the emergence of social trauma theme paintings in the art movements of Korea and China is a direct response to social reality, presenting themselves as anti-traditional. Due to special historical reasons, metaphors, being delicate, subtle and suggestive, have become an important conduit for many artists to convey their social thinking and personal. Although the art movements in China and South Korea are not entirely the same, what they have in common is metaphorical artworks reflecting the situation of individuals and nations at that time. Through analysis of the works of Korean and Chinese artists, this research attempts to reach two goals: first, to explain the differences between metaphors in modern Korean and Chinese paintings and the significances metaphors bring about; second, to discuss how metaphor will further influence artistic creations in the context of the diversified development of modern art in the 21st century.
First expound the concept of metaphor and its relationship with art in this paper. Subsequently, via the explanation of the historical background of South Korean and Chinese paintings in the 1980s, the reasons for the emergence of social trauma paintings in that period are introduced and inquired, and the significance of the traumatic paintings and its expression techniques are analyzed. In Chapter 3 examples and comparatively analyze the use of metaphor in the traumatic paintings of South Korean and Chinese society in the 1980s, and concludes how artists used different elements of life, symbols and colors in different social cultures to metaphorically expresses the social reality and personal situation.The fourth chapter analyzes the significance of the application of metaphors to the nowadays creation of Korean and Chinese artists; and concludes that in the new historical period, while satisfying visual effects, the use of metaphorical artistic techniques is not the less critical in terms of Korean and Chinese artists’ expressing their inner emotions and transmitting criticisms of social issues, mobilizing the interaction between the audience and art works, and achieving self-transcendence of the artist himself/herself. Finally, this paper summarizes the value and significance of metaphor in the traumatic theme of South Korean and Chinese society in the 1980s. It is demonstrated that the creation methods is an inevitable trend to express social reality and self-reflection by metaphor in the development of South Korean and Chinese painting.

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