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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第44號
- 발행연도
- 2017.6
- 수록면
- 101 - 115 (15page)
- DOI
- 10.14380/AHF.2017.44.101
이용수
초록· 키워드
오류제보하기
Chinese artists in the early and mid 20th century argued that they should correct the problem of ‘xiěyì(寫意, arts freehand brushwork in traditional Chinese painting)’ focusing on ‘xíngsì(形似, likeliness in form)’ by taking the factual spirit of the western painting in order to modernize the Chinese painting. From the early 1920s, a word ‘guóhuà(國畵, Chinese painting)’ became to have a meaning of opposition to the western painting due to a strong chauvinistic idea. In 1930s, many artists turned their interest from oil painting to the study and creation activity of Chinese water and ink painting. It is connected to the ‘New Chinese Painting(新國畵)’ which the mainland Chinese government claimed in 1950s.
The Nationalist Party government that retreated to Taiwan after the complete defect at the Chinese Civil War in late 1949 asserted themselves as the authenticity of the Chinese culture and exercised Fascism. Since 1950s, the Taiwanese artistic world, and furthermore art education supported ‘guóhuà’ that revitalized traditionalism and conservatism ideology. But, there were some young Taiwanese artists who sought a new creation. Among them, ‘Fifth Moon Group(五月畫會)’ promoted by Liu Kuo Sung and ‘Dong Fang Group(東方畫會)’ founded bi Li Zhong Sheng accepted western artistic trends, especially the abstract expressionism making a challenge to closed, rigid and conservative artistic system and environment.
Nonetheless, in the midst of grim reality of the political conservatism, the development of the modern art of Taiwan was frustrated from 1960s. The avant-garde modernity was not allowed by the political authorities and many founding members of Fifth Moon Group and Dong Fang Group moved to Europe and the USA. The international status of Taiwan was unstable up to 1970s. Even though a new historic phase was open with the mainland China, the controversy regarding the identity of Taiwan still continues.
The Nationalist Party government that retreated to Taiwan after the complete defect at the Chinese Civil War in late 1949 asserted themselves as the authenticity of the Chinese culture and exercised Fascism. Since 1950s, the Taiwanese artistic world, and furthermore art education supported ‘guóhuà’ that revitalized traditionalism and conservatism ideology. But, there were some young Taiwanese artists who sought a new creation. Among them, ‘Fifth Moon Group(五月畫會)’ promoted by Liu Kuo Sung and ‘Dong Fang Group(東方畫會)’ founded bi Li Zhong Sheng accepted western artistic trends, especially the abstract expressionism making a challenge to closed, rigid and conservative artistic system and environment.
Nonetheless, in the midst of grim reality of the political conservatism, the development of the modern art of Taiwan was frustrated from 1960s. The avant-garde modernity was not allowed by the political authorities and many founding members of Fifth Moon Group and Dong Fang Group moved to Europe and the USA. The international status of Taiwan was unstable up to 1970s. Even though a new historic phase was open with the mainland China, the controversy regarding the identity of Taiwan still continues.
목차
Ⅰ. ‘현대’와 언어 환경
Ⅱ. 현대성과 확장성
Ⅲ. 현대성과 계몽, 일본 식민 시기의 대만
Ⅳ. 현대성과 계몽, 20세기 초기의 중국 대륙
Ⅴ. 국화의 반발, 20세기 중국 수묵회화의 어려움과 변화
참고문헌
ABSTRACT
참고문헌 (10)
참고문헌 신청
[단행본] - 賈方舟 / 2003 / 批評的時代：20世紀末中國批評文萃 / 廣西美術出版社
[단행본] - 李君毅 / 1996 / 劉國松研究文選 / 國立歷史博物館
[단행본] - 水天中 / 1997 / 20世 紀中國畫：「傳統的延續與演進」, 國制學術大會 論文集 20th Century Chinese Painting / 浙江人民美術出版社
[단행본] - 王嘉驥 / 2013 / 台灣現當代女性藝術五部曲, 1930~1983 Women Adventurers: Five Eras of Taiwanese Art, 1930-1983 / 台北市立美術館
[단행본] - 王嘉驥 / 2013 / 中國繪畫名家個案研究: 劉國松 下卷 / 大家 良友書局
[단행본] - 李君毅 / 1996 / 劉國松研究文選 / 國立歷史博物館
[단행본] - 水天中 / 1997 / 20世 紀中國畫：「傳統的延續與演進」, 國制學術大會 論文集 20th Century Chinese Painting / 浙江人民美術出版社
[단행본] - 王嘉驥 / 2013 / 台灣現當代女性藝術五部曲, 1930~1983 Women Adventurers: Five Eras of Taiwanese Art, 1930-1983 / 台北市立美術館
[단행본] - 王嘉驥 / 2013 / 中國繪畫名家個案研究: 劉國松 下卷 / 大家 良友書局
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