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一九七〇～一九八〇年代 新形象世代の韓国画―ハイパー・リアリズムから民衆美術まで―
https://doi.org/10.18953/00009027
https://doi.org/10.18953/00009027fe17d602-0a4d-4d3a-ab44-3298d1483955
| 名前 / ファイル | ライセンス | アクション |
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433_1_Lee_Redacted (1.7 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||||||
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| 公開日 | 2023-03-17 | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | 一九七〇～一九八〇年代 新形象世代の韓国画―ハイパー・リアリズムから民衆美術まで― | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | Principal Article: New Figurative Korean Painting (Hangukhwa) in the 1970s and 1980s: From Hyperrealism to Minjoong Art | |||||||||||||
| 言語 | en | |||||||||||||
| 言語 | ||||||||||||||
| 言語 | jpn | |||||||||||||
| 資源タイプ | ||||||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||||
| 資源タイプ | journal article | |||||||||||||
| ID登録 | ||||||||||||||
| ID登録 | 10.18953/00009027 | |||||||||||||
| ID登録タイプ | JaLC | |||||||||||||
| 著者 |
李, 旼修
× 李, 旼修
× 稲葉(藤村), 真以
× Lee, Minsoo
× Inaba (Fujimura), Mai
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| 抄録 | ||||||||||||||
| 内容記述タイプ | Abstract | |||||||||||||
| 内容記述 | After the mid-1970s, the formation of a unique figurative art created a new atmosphere in the Korean art world. This stream is represented by so-called Hyperrealism, which was mainly disseminated through consecutively held large-scale privately sponsored exhibitions such as The Grand Art Exhibition of Korea, Donga Art Festival, and Joongang Fine Arts Prize. These exhibitions all claimed to support “originality” and “figuration”. They initially were repelled by Informel, Dansaekhwa, and other abstract tendencies. These events were also called “new figuration” in order to distinguish them from the existing and unchanging conceptions spread by The National Art Exhibition of The Republic of Korea. I highlight that the emphasis on this “new figuration” brought great differences to trends in Hangukhwa (Korean painting). Artists who sought direction from modern Hangukhwas based on traditional paintings were awarded not only in private exhibitions, but also in The Grand Art Exhibition of The Republic of Korea where they submitted numerous hyper-real Hangukhwas. While the combination of Hyperrealism and Hangukhwa might seem incompatible at first, we must then consider the meaning of this fusion. Such phenomena cannot be interpreted solely by focused discourses on the existing combination of ink wash painting and abstraction. Therefore, this study retraces Hangukhwa in terms of the flow of “figuration”. In other words, it compares and contrasts how the figural is expressed in traditional and modern Hangukhwas. This examination should begin with the hyper-real Hangukhwas. Thus the study analyzed and interpreted the Real-Scenery Landscapes and urban landscapes of the 1970s, the ink painting movement in the early 1980s, and Hangukhwa affiliated with Minjung Art in the context of art of the same period. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 433, p. 1-24, 発行日 2021-03-16 |
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