書-畵의 추상화 과정에 관한 試 : 1930년대 - 1960년대 일본과 한국화단을 중심으로 = Abstractionism of Modern Korean and Japanese Art : Calligraphy and Painting of 1930s - 1960s
저자
정형민 (서울대학교 미술대학 동양화과 부교수 (미술사))
발행기관
학술지명
권호사항
발행연도
2000
작성언어
Korean
KDC
653.000
자료형태
학술저널
수록면
1-20(20쪽)
제공처
The most apparent change that took place in Asian painting in the 20th century is abstraction. As abstraction developed, gradually the discussions on the origin of the abstract art began to arise. Abstract style in Asian art was viewed to be the adoption of European modernism on the one hand. Sometimes though, it was traced to the Asian tradition itself. As Informed and Abstract Expressionism became the dominant art movement after World War II, the line separating the so-called "Western painting" and "Oriental Painting" appeared to be disappearing. And the effort to trace the origin of the abstract art became in fact an issue of identity far the latter. The origin was traced by Asian artists and critics in the literati theory of art, ink painting and calligraphy, in that sa-ui, xie-i in Chinese(寫意, 'writing-out the idea'), that describes the major objective of literati art. is in fact equivalent to abstraction in the modern sense. According to Western critics, like Clement Greenberg, the stylistic similarities between the arts of the East and the West were the result of convergence or accident at least, and that abstract expressionism owes nothing to the Oriental calligraphic art.
This paper examines the development of abstraction in Japanese and Korean traditional painting from the 1930s to the 1960s in the context of interaction between calligraphy and painting. With the introduction of European art, which considers painting as the prime art and calligraphy as merely a form of writing, calligraphy lost its status as an expressive device of thoughts by lofty scholars from late Meiji(明治, 1868-1911). The proper method of painting, according to the literati theory of art, was to paint with resilient calligraphic brushwork as if form was written out (xie 寫) instead of being painted (hua 畵). In the 20th century, calligraphlc painting, meaning painting done in calligraphic brush method, changed into painterly calligraphy. Painterly calligraphy means that calligraphy was practiced for its formal beauty only in the same way as the paintings were produced.
While calligraphy lost its prime status in the East at the beginning of the 20th century, in the West, Euro-American artists were increasingly intrigued by the unique concept of calligraphy as an art form, most likely under the influence of orientalism that was prevalent from 19th century on. And supposedly, calligraphic lines began to be adopted by western artists who were looking far the means to write out and express the inner greatness.
Japanese and Korean art experienced modernization in response to abstract art. In Japan, abstract style with the connotation of avant-gardism from the outset began to emerge in the 1930s, then progressed further after World War II. There were two groups of avant-garde artists: 1) a group of painters who worked their way through the well-established system, like government-sponsored organizations such as the Japanese Exhibition, niten('日展', 日本美術展覽會), art schools, or the academy of arts (藝術院); 2) the other so-called avant-guards calligraphers (前衛書家) who took a more radical anti-establishment position. The two groups, however, showed their affinity with the Informel and Abstract Expressionism in their works by emphasizing the strength of medium -ink and calligraphic brushwork. and More importantly, the act of painting was presented as form of public spectacle. They were classified as calligaphers, but they were abstract-style painters as well. The border between calligraphy and painting was becoming more blurred.
In Korea, the abstract art movement was also launched with the connotation of arrant-gardism, which was provoked not so much by aesthetic issues as by the factional differences concerning the national competition like Grand Exhibition of Korea ('國展', 大韓民國美術展覽會), The style the avant-guard artists chose was Informel/Abstract Expressionism, introduced mainly via Japan by means of art magazines. The splash-ink technique (pomo in Chinese, 潑墨法) was the major technique chosen by the artists, then 25-30years odd, to reproduce the formless Informel style. Avant-gardism had also close ties with nationalism, and the root of ink-rendered formless style was traced to the Asian tradition. Their so-called the arrant-garde style was in fact an official style approved through the national competition that they protested against, but participated in after all.
The field of calligraphy, which was once the dominant art when the art was led by scholar-painters, was reduced into an esoteric group of professional calligraphers. Then the main objective of the modern calligraphers was to protect their already reduced stature, rather than any sort of modernization of their calligraphic work. The art of calligraphy became the art of forms as it diverged from its long tradition as the expressive and leisurely device of scholarly pursuit.
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