국립중앙도서관 "우편 복사 서비스"로 연결 됩니다.
ABSTRACT A Study on the Stroke of the Brush for the Expression of Nature and Its Changes LEE JI HO Advisor: Prof. JO SONG-SIG, Ph. D. Department of the Fine ...
다국어 입력
あ
ぁ
か
が
さ
ざ
た
だ
な
は
ば
ぱ
ま
や
ゃ
ら
わ
ゎ
ん
い
ぃ
き
ぎ
し
じ
ち
ぢ
に
ひ
び
ぴ
み
り
う
ぅ
く
ぐ
す
ず
つ
づ
っ
ぬ
ふ
ぶ
ぷ
む
ゆ
ゅ
る
え
ぇ
け
げ
せ
ぜ
て
で
ね
へ
べ
ぺ
め
れ
お
ぉ
こ
ご
そ
ぞ
と
ど
の
ほ
ぼ
ぽ
も
よ
ょ
ろ
を
ア
ァ
カ
サ
ザ
タ
ダ
ナ
ハ
バ
パ
マ
ヤ
ャ
ラ
ワ
ヮ
ン
イ
ィ
キ
ギ
シ
ジ
チ
ヂ
ニ
ヒ
ビ
ピ
ミ
リ
ウ
ゥ
ク
グ
ス
ズ
ツ
ヅ
ッ
ヌ
フ
ブ
プ
ム
ユ
ュ
ル
エ
ェ
ケ
ゲ
セ
ゼ
テ
デ
ヘ
ベ
ペ
メ
レ
オ
ォ
コ
ゴ
ソ
ゾ
ト
ド
ノ
ホ
ボ
ポ
モ
ヨ
ョ
ロ
ヲ
―
http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
예시)
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
А
Б
В
Г
Д
Е
Ё
Ж
З
И
Й
К
Л
М
Н
О
П
Р
С
Т
У
Ф
Х
Ц
Ч
Ш
Щ
Ъ
Ы
Ь
Э
Ю
Я
а
б
в
г
д
е
ё
ж
з
и
й
к
л
м
н
о
п
р
с
т
у
ф
х
ц
ч
ш
щ
ъ
ы
ь
э
ю
я
′
″
℃
Å
￠
￡
￥
¤
℉
‰
＄
％
Ｆ
￦
㎕
㎖
㎗
ℓ
㎘
㏄
㎣
㎤
㎥
㎦
㎙
㎚
㎛
㎜
㎝
㎞
㎟
㎠
㎡
㎢
㏊
㎍
㎎
㎏
㏏
㎈
㎉
㏈
㎧
㎨
㎰
㎱
㎲
㎳
㎴
㎵
㎶
㎷
㎸
㎹
㎀
㎁
㎂
㎃
㎄
㎺
㎻
㎽
㎾
㎿
㎐
㎑
㎒
㎓
㎔
Ω
㏀
㏁
㎊
㎋
㎌
㏖
㏅
㎭
㎮
㎯
㏛
㎩
㎪
㎫
㎬
㏝
㏐
㏓
㏃
㏉
㏜
㏆
RISS 인기검색어
자연 표현의 필법과 그 변화 연구 : 연구자의 작품을 중심으로 = A Study on the Stroke of the Brush for the Expression of Nature and Its Changes
한글로보기부가정보
다국어 초록 (Multilingual Abstract)
ABSTRACT
A Study on the Stroke of the Brush for the
Expression of Nature and Its Changes
LEE JI HO
Advisor: Prof. JO SONG-SIG, Ph. D.
Department of the Fine Arts
Graduate School of Chosun University
Many painters who study modern Oriental painting pursue a gradual change on the basis of the principle of the old thing-oriented creation of new things (法古創新) or attach great importance to the new conceptual meaning by borrowing the technique of Western painting or the function of media. The former depends on models for its technique of the brush, thought and subject materials, whereas the latter expresses the situations of the times by breaking away the existing viewpoints of thinking or traditional conception. Since the expression of nature was named as painting in the Orient, the changing process of painting has developed gradually. Therefore, painting has been always linked to traditions and modified its characteristics gradually, thus interacting with contemporary situations and prospecting the future from there. However, the expressive technique of the Orient which has been in line with the concept of harmony theory experiences somewhat confusion due to its mix with the ontological thought in the Occident. In other words, it is the phenomenon occurred in the process when the modern situations of painting come to face with the inherent rules of the Orient and the Occident and then contradict or assimilate with them. Therefore, the tendency of Oriental painting is classified into: The one which comprises all the traditional and modern viewpoints and then attempts to maintain balance between them; and the other which emphasizes creativity not from the aspect of tradition but from the aspect of new conception. This phenomenon seems to be derived from the combination of expressive materials or views of thinking with a variety of environmental factors. With this fact, we must perceive the necessity of being on the alert for the stagnant of the Oriental painting in the past or its cling to the phenomena of the times.
In this vein, the investigator took the former's view and focused on the creation of modernity on the basis of old things in this study. In other words, by examining the meaning of traditional techniques of the brush, the investigator tried to draw out the new conception of all ages and countries. In addition, by reconsidering traditional thoughts and views of thinking from the modern aspect, the investigator pursued the change of expressive formation. This was mainly due to the investigator's formative formation, learned on the basis of tradition so far. However, it was also due to the requirement of the times which trying to change the tradition. In this vein, the investigator examined the answer by means of the two expressive formations in ancient and modern ages in general and then looked into the use technique of brush, ink stick and color. In addition, in the course of study, the investigator reconsidered the traditional expressive technique of landscape, which had been carried out customarily, and then introduced righteousness (spirit), rules (the technique of the brush), things (materials) and time (the nature of the times) into the investigator's new abstract technique of expression.
Therefore, the investigator carried out an experiment based on a consistent category, namely the expression of nature, and then demonstrated its results. In the concertizing process of it, the investigator searched the answer from the model of traditional expression of landscape and then drew out diverse aspects. And based on study findings, the investigator began to change expressions and established new formative formations, namely rice paddies that depending solely on rainfall for water (天水畓) and wave patterns (波象紋). By breaking away the formation of actual or practical landscape in the past, the investigator drew out the linear formations of nature and then intensified its abstract formations in order to examine the inherent meaning of nature intensively. In particular, through the dynamics and harmony of lines, the investigator drew out musical, poetic and time-oriented meanings of nature and then tried to project the pure life of human beings who ultimately getting along with nature. Therefore, by going forward one step more from the original bearing of pursuing the technique of the brush and the change of expression, the investigator could approach a little near to the inherent attributes of nature expression, namely human beings and nature and nature and environment. In conclusion, in this study, the investigator drew out the viewpoint of traditional technique of the brush, the viewpoint of subject materials, the viewpoint of thoughts and ways of thinking and the viewpoint of nature and human beings and then brought them into the viewpoint of the times. In particular, they included internal and external meanings and phenomena, such as melodies, rhythms and dynamics simultaneously.
A Study on the Stroke of the Brush for the
Expression of Nature and Its Changes
LEE JI HO
Advisor: Prof. JO SONG-SIG, Ph. D.
Department of the Fine Arts
Graduate School of Chosun University
Many painters who study modern Oriental painting pursue a gradual change on the basis of the principle of the old thing-oriented creation of new things (法古創新) or attach great importance to the new conceptual meaning by borrowing the technique of Western painting or the function of media. The former depends on models for its technique of the brush, thought and subject materials, whereas the latter expresses the situations of the times by breaking away the existing viewpoints of thinking or traditional conception. Since the expression of nature was named as painting in the Orient, the changing process of painting has developed gradually. Therefore, painting has been always linked to traditions and modified its characteristics gradually, thus interacting with contemporary situations and prospecting the future from there. However, the expressive technique of the Orient which has been in line with the concept of harmony theory experiences somewhat confusion due to its mix with the ontological thought in the Occident. In other words, it is the phenomenon occurred in the process when the modern situations of painting come to face with the inherent rules of the Orient and the Occident and then contradict or assimilate with them. Therefore, the tendency of Oriental painting is classified into: The one which comprises all the traditional and modern viewpoints and then attempts to maintain balance between them; and the other which emphasizes creativity not from the aspect of tradition but from the aspect of new conception. This phenomenon seems to be derived from the combination of expressive materials or views of thinking with a variety of environmental factors. With this fact, we must perceive the necessity of being on the alert for the stagnant of the Oriental painting in the past or its cling to the phenomena of the times.
In this vein, the investigator took the former's view and focused on the creation of modernity on the basis of old things in this study. In other words, by examining the meaning of traditional techniques of the brush, the investigator tried to draw out the new conception of all ages and countries. In addition, by reconsidering traditional thoughts and views of thinking from the modern aspect, the investigator pursued the change of expressive formation. This was mainly due to the investigator's formative formation, learned on the basis of tradition so far. However, it was also due to the requirement of the times which trying to change the tradition. In this vein, the investigator examined the answer by means of the two expressive formations in ancient and modern ages in general and then looked into the use technique of brush, ink stick and color. In addition, in the course of study, the investigator reconsidered the traditional expressive technique of landscape, which had been carried out customarily, and then introduced righteousness (spirit), rules (the technique of the brush), things (materials) and time (the nature of the times) into the investigator's new abstract technique of expression.
Therefore, the investigator carried out an experiment based on a consistent category, namely the expression of nature, and then demonstrated its results. In the concertizing process of it, the investigator searched the answer from the model of traditional expression of landscape and then drew out diverse aspects. And based on study findings, the investigator began to change expressions and established new formative formations, namely rice paddies that depending solely on rainfall for water (天水畓) and wave patterns (波象紋). By breaking away the formation of actual or practical landscape in the past, the investigator drew out the linear formations of nature and then intensified its abstract formations in order to examine the inherent meaning of nature intensively. In particular, through the dynamics and harmony of lines, the investigator drew out musical, poetic and time-oriented meanings of nature and then tried to project the pure life of human beings who ultimately getting along with nature. Therefore, by going forward one step more from the original bearing of pursuing the technique of the brush and the change of expression, the investigator could approach a little near to the inherent attributes of nature expression, namely human beings and nature and nature and environment. In conclusion, in this study, the investigator drew out the viewpoint of traditional technique of the brush, the viewpoint of subject materials, the viewpoint of thoughts and ways of thinking and the viewpoint of nature and human beings and then brought them into the viewpoint of the times. In particular, they included internal and external meanings and phenomena, such as melodies, rhythms and dynamics simultaneously.
ABSTRACT
A Study on the Stroke of the Brush for the
Expression of Nature and Its Changes
LEE JI HO
Advisor: Prof. JO SONG-SIG, Ph. D.
Department of the Fine Arts
Graduate School of Chosun University
Many painters who study modern Oriental painting pursue a gradual change on the basis of the principle of the old thing-oriented creation of new things (法古創新) or attach great importance to the new conceptual meaning by borrowing the technique of Western painting or the function of media. The former depends on models for its technique of the brush, thought and subject materials, whereas the latter expresses the situations of the times by breaking away the existing viewpoints of thinking or traditional conception. Since the expression of nature was named as painting in the Orient, the changing process of painting has developed gradually. Therefore, painting has been always linked to traditions and modified its characteristics gradually, thus interacting with contemporary situations and prospecting the future from there. However, the expressive technique of the Orient which has been in line with the concept of harmony theory experiences somewhat confusion due to its mix with the ontological thought in the Occident. In other words, it is the phenomenon occurred in the process when the modern situations of painting come to face with the inherent rules of the Orient and the Occident and then contradict or assimilate with them. Therefore, the tendency of Oriental painting is classified into: The one which comprises all the traditional and modern viewpoints and then attempts to maintain balance between them; and the other which emphasizes creativity not from the aspect of tradition but from the aspect of new conception. This phenomenon seems to be derived from the combination of expressive materials or views of thinking with a variety of environmental factors. With this fact, we must perceive the necessity of being on the alert for the stagnant of the Oriental painting in the past or its cling to the phenomena of the times.
In this vein, the investigator took the former's view and focused on the creation of modernity on the basis of old things in this study. In other words, by examining the meaning of traditional techniques of the brush, the investigator tried to draw out the new conception of all ages and countries. In addition, by reconsidering traditional thoughts and views of thinking from the modern aspect, the investigator pursued the change of expressive formation. This was mainly due to the investigator's formative formation, learned on the basis of tradition so far. However, it was also due to the requirement of the times which trying to change the tradition. In this vein, the investigator examined the answer by means of the two expressive formations in ancient and modern ages in general and then looked into the use technique of brush, ink stick and color. In addition, in the course of study, the investigator reconsidered the traditional expressive technique of landscape, which had been carried out customarily, and then introduced righteousness (spirit), rules (the technique of the brush), things (materials) and time (the nature of the times) into the investigator's new abstract technique of expression.
Therefore, the investigator carried out an experiment based on a consistent category, namely the expression of nature, and then demonstrated its results. In the concertizing process of it, the investigator searched the answer from the model of traditional expression of landscape and then drew out diverse aspects. And based on study findings, the investigator began to change expressions and established new formative formations, namely rice paddies that depending solely on rainfall for water (天水畓) and wave patterns (波象紋). By breaking away the formation of actual or practical landscape in the past, the investigator drew out the linear formations of nature and then intensified its abstract formations in order to examine the inherent meaning of nature intensively. In particular, through the dynamics and harmony of lines, the investigator drew out musical, poetic and time-oriented meanings of nature and then tried to project the pure life of human beings who ultimately getting along with nature. Therefore, by going forward one step more from the original bearing of pursuing the technique of the brush and the change of expression, the investigator could approach a little near to the inherent attributes of nature expression, namely human beings and nature and nature and environment. In conclusion, in this study, the investigator drew out the viewpoint of traditional technique of the brush, the viewpoint of subject materials, the viewpoint of thoughts and ways of thinking and the viewpoint of nature and human beings and then brought them into the viewpoint of the times. In particular, they included internal and external meanings and phenomena, such as melodies, rhythms and dynamics simultaneously.
목차 (Table of Contents)
- 목 차
- ABSTRACT ⅲ
- 제 1 장 서 론 1
- 목 차
- ABSTRACT ⅲ
- 제 1 장 서 론 1
- 연구 실행 도표 3
- 제 2 장 서화용필의 발생과 자연의 표현 4
- 제1절 필획의 생성과 의경화(意境化) 4
- 제2절 자연 표현의 서예 수용과 변이 15
- 제3절 표현의 다양성과 양식의 출현 22
- 제4절 지필묵의 예술성과 자연 표현의 관계 50
- 1. 매체(媒體)로서의 종이와 공간으로서의 종이 52
- 2. 필(筆)의 기능성과 표현의 효능 56
- 3. 묵(墨)의 현학적 특성과 색의 현묘함 59
- 제 3 장 자연 표현의 동시대성 63
- 제1절 자연관의 시대적 관점 63
- 1. 천인합일의 조화론적 자연관 63
- 2. 합리주의와 인본주의적 자연관 66
- 3. 현대의 자연관과 그 범위의 확산 69
- 4. 자연관을 통한 미적 가치와 조형성 71
- 제2절 신(新) 재료의 물성과 표현 형식 75
- 1. 표현의 매재와 시대성 75
- 2. 표현 형식과 재료의 범주 79
- 제 4 장 전형(典型)의 체험과 형식미의 추구 81
- 제1절 양식의 발생과 변화 81
- 제2절 전통 형식에 의한 자연 체험 83
- 제 5 장 매체의 현대성과 표현의 전개 97
- 제1절 필묵에 의한 채(彩)의 미(美) 97
- 제2절 인간의 삶과 생명의 율동성 102
- 제3절 자연의 순리와 순환적 선율 113
- 제 6 장 결론 125
- 참 고 문 헌 184
분석정보
연관 공개강의(KOCW)
이 자료와 함께 이용한 RISS 자료
나만을 위한 추천자료
