Reality에 關한 繪畵史的 考察 = (A) study on the reality in the western painting history

다국어 초록 (Multilingual Abstract)

The acceptance of the Reality in paings can be variously examined due to the organic qualities of them and several complex factors. however, it is important that the Reality expresed in paintings should be studied in terms of real lives, that is, from the viewpoint of ages and circumstances as N. Hartmann said that the formation of real life becomes the formalmotives in art creation. That is why paintings are the productis of circumstances an can't escape the general quality of art aiming to pursue the Reality. Therefore, my aims are searching the diversity of the reality described in paintings according to the societies, the social ideas and the ages, especially to the five large periods, i.e., the Cave Wall paintings, the Middle Ages, the renaissance Period, the 19th Century and this century.
The Reality expressed in the Prehistoric Ages for the puroose of socery has been changed as the symbolic meaning of god in the Middle Ages and then as the human one from the Renaissance period to the present time. It can be noticed that the common searched aims flowing continuously through the process of the painting development from the 19th century paintings are the Reality of expression and th genuiness.
As we have seen, each period has its proper circusmtances and it acts uniquely in each period of paintings. In other words, each age always has its value pursuit. This value agrees with the period, the societies and social ideas, at times reacts to and refuser the previous values and at some time play a role of the pioneer for creating the value system of the later age. It is clear that the efforts of painters give birth to the different Realities in each period.
The human mind indulges itself not only in the impulse of pursuing the beautiful and its taste, but also have the inner needs for knowing the essence of the diversity i.e. the ultimate to the last. In the process of that, man has deeply sensed the surroundings around himself and the deep experiences from them, established a new diretion by adding to the skillful and aesthetic experiences and made the spaces and the forms for the Reality. When it is accepted that Thomas Aquinass said the truth in art as the pratical virtue of intelligence different from the purity of human will is that of works alone and products, it is said that Reality itself is the truth whatever its searched meanings are, the future painters will not only react agressively to the circumstances of the coming period in order to search for a new Reality, but also creat it in the idea of a new period and then produce better cultural achievemnts of art than those of the previous times.

목차 (Table of Contents)

• 目次
• I. 緖論 = 1
• II. Reality의 時代的 變遷 = 5
• 1. 洞窟璧畵;呪術的 Reality = 5
• 2. 中世;彼岸的 Reality = 8
• 3. 르네상스;人本的 Reality = 14
• 4. 19세기;現實的 Reality = 20
• 1) 寫實主義 = 21
• 2) 印象主義 = 26
• 5. 20세기;本質的 Reality = 30
• 1) 表現的 美術 = 31
• 2) 抽象的 美術 = 34
• 3) 幻想的 美術 = 38
• III. 結論 = 45
• o 參考文獻 = 47
• o 英文抄錄 = 50