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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Begun by Pablo Picasso and Julio Gonzalez in France in the late 1920s, welded sculpture has been favored by artists who seek to escape the traditional nation of sculpture as a 'solid mass.' In the postwar period, the approach was deemed especially suitable for expressing psychological pains and anxieties, and the widely spread in Europe, the United States, and Asian countries such as Korea and Japan. In the radically transformed social situations in the wake of the Korean War, welded sculpture attracted certain Korean artists who sought new directions in art.
In this paper, I look at how welded sculpture was introduced from the west to Japan and Korea, and went through subsequent transformations. Especially, I map out how Korean welded sculpture developed, and what similarities and differences it came to have vis-a-vis its Japanese counterpart. I argue, specially through the examples of Tatehata Kakuzo, Horiuzi Masakaz, Song Young-Soo, Park Jong-Bae, Park Soek-Won and Oh Jong-Uk, that Japanese sculptors were interested in innovative possibilities the welded sculpture offered, while Korean artists were more drawn to its expressive capacity. I hope to clarify how this particular methodology played an important role in the shaping of the overall topography of postwar Korean art, and in the larger context of shifting structure of society. I try to also show how Koreans artists found in welded sculpture apt means and medium to reflect and inject their own artistic identities.
In this paper, I look at how welded sculpture was introduced from the west to Japan and Korea, and went through subsequent transformations. Especially, I map out how Korean welded sculpture developed, and what similarities and differences it came to have vis-a-vis its Japanese counterpart. I argue, specially through the examples of Tatehata Kakuzo, Horiuzi Masakaz, Song Young-Soo, Park Jong-Bae, Park Soek-Won and Oh Jong-Uk, that Japanese sculptors were interested in innovative possibilities the welded sculpture offered, while Korean artists were more drawn to its expressive capacity. I hope to clarify how this particular methodology played an important role in the shaping of the overall topography of postwar Korean art, and in the larger context of shifting structure of society. I try to also show how Koreans artists found in welded sculpture apt means and medium to reflect and inject their own artistic identities.
목차
Ⅰ. 머리말
Ⅱ. 현대조각사에서 용접조각의 위치
Ⅲ. 용접조각의 한국으로의 유입
Ⅳ. 한국 용접조각의 조형적 특징
Ⅴ. 한국 용접조각의 시대적 의미
Ⅵ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-650-017298236