@article{oai:tobunken.repo.nii.ac.jp:00008980,
 author = {稲葉（藤村）, 真以 and Inaba (Fujimura), Mai},
 issue = {426},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Dec},
 note = {Contemporary Korean painting is an art form that continues on from traditional painting in Korea. Its contents, style and name have gone through a long period of complexities and discoveries. Traditional Joseon period painting was included in the East Asian Art section of the Korean Fine Art Exhibitions organized as government sponsored exhibitions during Japan’s period of colonization of Korea. It was further transformed by absorbing elements of Western painting methods and Nihonga style. After independence, there was a drive to build a national arts form. Korean painting was re-examined as part of that process of self-identity. Practitioners of ink painting sought Joseon period literati painting as their model, while painting with colors was considered to be heavily influenced by Japan and thus was shunned by the Korean domestic art world of the day. From the latter half of the 1950s onwards, the Informal style that had swept through the art world extended into the realm of ink painting. By the 1960s, young painters who had graduated from Seoul National University began to fully develop a form of abstract painting in ink. While the 1970s saw the wholesale burgeoning of Dansaekhwa, or monochrome painting, there was also a traditional painting boom, which led to a heightened interest in Korean painting, particularly ink painting. Conversely, some artists shunned traditional materials such as paper, brushes and ink and instead turned to previously unused materials, as they sought new forms of abstract expression that boldly extended into the realm of contemporary art. The 1980s marked a major turning point in Korean painting. First, regardless of the fact that it had been heralded since the 1950s and had not been the subject of many critical opinions, the term Korean painting ( 韓国画) came to be publicly used in exhibitions and art textbooks. A search for new directions in ink painting emerged primarily amongst Hongik University graduates, while Park Saeng-Kwang with his nationalist themes emerged and finally revived the coloristic painting that had long been seen as too closely tied to Japan. The influence of postmodernism took hold fully from the 1990s onwards, with diversification of content and forms, and artists challenging themselves not only in painting but also through installations and mixed media works. Through these efforts they tested the connections between traditional styles and contemporary topics, further broadening the expression of Korean painting.
     Korean painting has undergone various tremors, from shedding Japanese influence to the establishment of nationalistic art, and the competing forms of East Asian painting and Korean painting, traditional and contemporary, abstract and representational, and ink painting vs. painting with colors. Through all this, Korean artists continually sought an answer to the question, what is Korean painting? The answers to this half-century long debate about Korean painting must be found in the future by discerning new ways of breaking free, of reciprocity and positioning itself uniquely within East Asian art.},
 pages = {75--92},
 title = {研究ノート　韓国画の変遷―葛藤と模索の軌跡をめぐって―},
 year = {2018}
}