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초록· 키워드
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In Chinese art, calligraphy and paintings have been regarded as the most important genres, and ancient works by famous artists have been cherished. However, as many of the Chinese calligraphy and paintings had been damaged or had disappeared, ancient works had frequently been transmitted to later ages through copying. In this process, sometimes, fakes were also made.
Under this situation, China has developed connoisseurship in that experts have judged authenticity by dating a work and identifying the artist name based on the style revealed by periods and individuals. Also, it has developed ways to identify art works on the basis of unique elements of Chinese calligraphy and paintings such as seals, paper and silk, collectors’ seals, catalogues, and mounting. However, while developing connoisseurship and forgery techniques respectively, connoisseurs and fake-makers have kept playing hide-and-seek around genuine works and fakes.
Because appreciation of art works is greatly dependent upon aesthetic experiences that cannot be objectified absolutely, the appraisal of Chinese calligraphy and paintings has brought about a lot of heated debate. At any rate, such problems of connoisseurship have always existed in all ages and countries, and show similarities in considerable parts.
Wangqi is a traditional Chinese way of art authentication in which one analyzes a work putting importance on one’s first impression of it. It is similar to the first impression for first two seconds, which is emphasized in Blink, a bestseller book written by Malcolm Gladwell. However well scientific analyses have been developed, and however objectively one has been studying, such a visual experience and firsthand observation are still important in connoisseurship.
This paper tries to survey the connoisseurship of calligraphy and painting in modem China in the context of social history, and to examine its various aspects on the sides of art history, aesthetics, and philosophy. I also examine why art connoisseurship, which is developed generally in the market economy society, has been developed in modem Chinese society, and what is its prospects.
Under this situation, China has developed connoisseurship in that experts have judged authenticity by dating a work and identifying the artist name based on the style revealed by periods and individuals. Also, it has developed ways to identify art works on the basis of unique elements of Chinese calligraphy and paintings such as seals, paper and silk, collectors’ seals, catalogues, and mounting. However, while developing connoisseurship and forgery techniques respectively, connoisseurs and fake-makers have kept playing hide-and-seek around genuine works and fakes.
Because appreciation of art works is greatly dependent upon aesthetic experiences that cannot be objectified absolutely, the appraisal of Chinese calligraphy and paintings has brought about a lot of heated debate. At any rate, such problems of connoisseurship have always existed in all ages and countries, and show similarities in considerable parts.
Wangqi is a traditional Chinese way of art authentication in which one analyzes a work putting importance on one’s first impression of it. It is similar to the first impression for first two seconds, which is emphasized in Blink, a bestseller book written by Malcolm Gladwell. However well scientific analyses have been developed, and however objectively one has been studying, such a visual experience and firsthand observation are still important in connoisseurship.
This paper tries to survey the connoisseurship of calligraphy and painting in modem China in the context of social history, and to examine its various aspects on the sides of art history, aesthetics, and philosophy. I also examine why art connoisseurship, which is developed generally in the market economy society, has been developed in modem Chinese society, and what is its prospects.
목차
Ⅰ. 머리말
Ⅱ. 1949년 이후 중국의 서화 감정
Ⅲ. 서화 감정에서의 망기(望氣)
Ⅳ. 맺음말
참고문헌
Abstract
「“망기(望氣)” 또는 “블링크(Blink)”: 현대중국의 서화감정」에 대한 질의
박은화 선생님의 질의에 대한 답변
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